Since 1998, multiple casting has been the primary technique used in Loretta Hui-shan Yang’s work.  Through various treatments and temperatures, it emerges an alternate realm of translucency and precision.  Yang breathes life into Buddhist figures that appear to exist in an ethereal yet concrete state, an expression of her inner countenance.
It has also opened a new door to the understanding and interpretation of Buddhist scripture.

Yang said on Formless, but Not Without Form:
There are many concepts within Buddhist scripture that cannot be fully expressed through traditional Buddhist art.  Take this passage from the Diamond Sutra, “all of the existent, conditioned dharma is like dreams, illusions, bubbles, shadows.”  Penetrating the life with clear mind and the great wisdom to be in void to all with benevolence is one constant theme in Buddhist thought that has always moved me.

The series was first shown in 1998 at The Victoria and Albert Museum.  Throughout the years and from both physical and technical standpoints, the series has consistently brought forth new ideas and is recognized as Yang’s significant style.