Her work focuses on the space of the museum or the art gallery, embracing this abstracted, emptied, idealized space as both a stage for human action and a celebration of its absence. In the past years, Bodu Yang has looked at these evenly lit, dramatically constructed architectural moments as ways of seeing as well as the bases for her paintings. Her practice takes place in the uncanny space between private and public, between making and viewing, and between seeing and being seen.

Describing MASSIMODECARLO Pièce Unique’s gallery space, which she has never seen in real life, the artist explains her selection of works for her first exhibition within it:

“I’’ve never been there; yet the space resides vividly in my mind. A slice of the street, half a box, a corner, textures of the indoor and outdoor floors separated by a layer of glass, the audience flowing past the clear window. The space lingers within my thoughts. When baren of art, it echoes an elegant reclining figure on a bed. Every time a new exhibition arrives, the space dresses up, proudly presenting itself to the viewer.

Subtle details lie within each painting; I pull them out like plucking a small mound of yarn balls from a sweater. When the wallpaper, paintings, and the vase rhythm with each other, it's as if a face is sketched with eyebrows, eyes, and a nose—turning the straw hat into a mouth.

Once in a while, faint melodies travel from distant rooms, barely perceived, more like sounds emitted by the space itself—a symphonic blending of the floor, curtain, and wall. When observed more closely, doors emerge, tranforming the rooms into traps: be careful of entering this realm of the unknown...”