Yauch considers ‘oblivion’ not as a static state of being forgotten or unknown, but rather as an open space the mind can sail into - the uncharted waters of a boundless void. She aligns her understanding with the Buddhist belief that emptiness marks a distinction in perception between appearance and reality, a place where things are not what they seem.
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Recurring throughout Yauch’s work is the image of a horse. The ‘wind horse’ is a sacred animal in Tibet, a symbol of the human soul and a messenger of the collective unconscious; it often appears in prayer flags across Tibet and India. For Yauch, the horse is also a crucial part of the retold memory of her grandfather travelling to India on horseback to seek refuge when, in 1949, China invaded Tibet. In her single sculpture, the life-size body of a horse, with bones of bent willow branches and skin and mane of hand-loomed, painted sari silk, stands suspended, ghostlike, as if just emerged from a distant black night.
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From Oblivion, With Love explores this liminal space where the mind drifts away from the body and into memories, dreams, and imagined realities. She wonders, ‘Are we all destined for oblivion? And, as ominous as that sounds, wouldn’t we at least be in good company?'
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