Exploration and research the limits of polyurethane spray expansion glue (foam glue) materials<\/p>\n\n\n\n
When working on this project, Yeung tried to find different painting methods and materials to express and visualize the clouds, but he still couldn’t find a material that could express Yeung\u2019s feelings. In the same time, with the advancement of artificial intelligence (AI), enabling computers to generate high-quality two-dimensional images, L\u00e9o reflected on what kinds of artwork that AI couldn’t yet create. For these reasons, he realized that three-dimensional painting artworks couldn’t yet be generated by AI, and thus began exploring three-dimensional painting. However, while creating the three-dimensional works for this project, he discovered that existing modeling pastes and impasto paints were too heavy and prone to cracking. Therefore, L\u00e9o sought a lighter material with a different texture.<\/p>\n\n\n\n
At the same time, Yeung is very interested in architecture and interior design. When he was renovating his old house in France, he repeatedly used spray foam to fill the gaps and also used it as a thermal insulation layer to separate the outdoors from the indoors. This material is often used as a filler and eventually is covered up by decoration, hidden from the public eye and slowly forgotten.<\/p>\n\n\n\n
This neglected material attracted Yeung\u2019s attention. Its shape, texture, weight and characteristics echoed with this project. L\u00e9o then set out to explore the plasticity of expanding foam, attempting to control this uncontrolled material. Before being fixed, the spray foam is in a semi-fluid state without support and gradually becomes flat downwards. Controlling this uncontrollable material is like planning of life. There are always changes, and no matter how well the preparation is, there will still be some unpredictable things, but the details are full of surprises.<\/p>\n\n\n\n
After the foam is dry, it is a stable material which is suitable for long-term preservation and collection. Its lightness, light transmittance and three-dimensionality bring some limitations to artistic creation that are different from those of traditional materials.<\/p>\n\n\n\n
He experimented with using a paint knife to lightly sweep the surface of the swelling glue to create texture, and then controlled the spray foam to expand upward to create cloud-shaped sculptures. In the installations, he uses controlled light to color the sculpture. Expanding foam allows some light to pass through, just like the penetration of clouds. He is committed to combining technology, using it to control the gradual change of light, giving sculptures and installations more layers, creating artistic expression spaces with different feelings, and presenting works with great visual and conceptual depth to the audience.<\/p>\n\n\n\n
Spraying foam is used much like spray paint, but after being sprayed, it slowly expands, depending on the thickness, before settling and drying in about 24 hours. Hence, it’s also called expanding foam. Controlling this uncontrolled material, with its irregular expansion, creates organic forms. The wet foam is extremely sticky, imbued with a natural, random beauty and struggle. Leo uses a paint knife to gently sweep the foam surface, removing unnatural streaks or overly smooth surfaces and creating fine textures. However, applying too much force or repeatedly sweeping the foam can cause it to collapse excessively, hardening it.<\/p>\n\n\n\n
Through constant experimentation and practice, Leo has developed a meticulous technique, controlling the pressure of the nozzle and the speed of his wrist movements to produce extremely fine lines of expanding foam, pushing the limits of its finesse. He then estimates the degree of expansion, maintaining control over detail while also incorporating a touch of randomness. Leo is the first person to master this technique to create calligraphy-quality and highly worthy three-dimensional paintings made of expanding foam.<\/p>\n\n\n\n
Spraying foam has gradually become the artist’s unique artistic language.<\/p>\n\n\n\n
At his solo exhibition in Paris in 2024, L\u00e9o exhibited sculptures and installations made of spray foam.<\/p>\n\n\n\n
During the 2025 artist residency program and solo exhibition in Hong Kong, L\u00e9o continued to experiment with the techniques of using spray foam materials in painting, gradually blurring the boundaries between sculpture, installation and painting, and creating a 3D painting and spray foam asian calligraphy.<\/p>\n\n\n\n
At his exhibition at KoMo Galerie in September 2025, L\u00e9o showed a new series of abstract 3D paintings, incorporating foam art installations into the paintings.<\/p>\n\n\n\n
Le langage artistique unique de Yeung<\/p>\n\n\n\n
Exploration et recherche des limites des mat\u00e9riaux utilis\u00e9s pour la colle polyur\u00e9thane expans\u00e9e en spray (colle mousse)<\/p>\n\n\n\n
Lors de ce projet, Yeung a cherch\u00e9 diff\u00e9rentes m\u00e9thodes et mat\u00e9riaux de peinture pour exprimer et visualiser les nuages, mais il n’a toujours pas trouv\u00e9 de mat\u00e9riau capable d’exprimer ses \u00e9motions. Parall\u00e8lement, avec les progr\u00e8s de l’intelligence artificielle (IA), permettant aux ordinateurs de g\u00e9n\u00e9rer des images bidimensionnelles de haute qualit\u00e9, L\u00e9o s’est interrog\u00e9 sur les types d’\u0153uvres d’art que l’IA ne pouvait pas encore cr\u00e9er. Il a donc r\u00e9alis\u00e9 que l’IA ne pouvait pas encore g\u00e9n\u00e9rer d’\u0153uvres d’art tridimensionnelles et a donc commenc\u00e9 \u00e0 explorer la peinture tridimensionnelle. Cependant, lors de la cr\u00e9ation des \u0153uvres tridimensionnelles pour ce projet, il a constat\u00e9 que les p\u00e2tes \u00e0 modeler et les peintures d’emp\u00e2tement existantes \u00e9taient trop lourdes et sujettes aux craquelures. L\u00e9o a donc recherch\u00e9 un mat\u00e9riau plus l\u00e9ger et \u00e0 la texture diff\u00e9rente.<\/p>\n\n\n\n
Par ailleurs, Yeung s’int\u00e9resse beaucoup \u00e0 l’architecture et \u00e0 la d\u00e9coration int\u00e9rieure. Lors de la r\u00e9novation de sa vieille maison en France, il a utilis\u00e9 \u00e0 plusieurs reprises de la mousse expans\u00e9e pour combler les vides et l’utiliser \u00e9galement comme couche d’isolation thermique pour s\u00e9parer l’int\u00e9rieur de l’ext\u00e9rieur. Ce mat\u00e9riau, souvent utilis\u00e9 comme mat\u00e9riau de remplissage, finit par \u00eatre recouvert par des \u00e9l\u00e9ments d\u00e9coratifs, dissimul\u00e9 aux regards et peu \u00e0 peu oubli\u00e9.<\/p>\n\n\n\n
Ce mat\u00e9riau n\u00e9glig\u00e9 a attir\u00e9 l’attention de Yeung. Sa forme, sa texture, son poids et ses caract\u00e9ristiques ont fait \u00e9cho \u00e0 ce projet. L\u00e9o a alors entrepris d’explorer la plasticit\u00e9 de la mousse expansive, tentant de contr\u00f4ler ce mat\u00e9riau incontr\u00f4lable. Avant d’\u00eatre fix\u00e9e, la mousse expans\u00e9e est \u00e0 l’\u00e9tat semi-fluide, sans support, et s’aplatit progressivement vers le bas. Contr\u00f4ler ce mat\u00e9riau incontr\u00f4lable, c’est comme planifier sa vie. Il y a toujours des changements, et quelle que soit la qualit\u00e9 de la pr\u00e9paration, des impr\u00e9vus subsistent, mais les d\u00e9tails r\u00e9servent de nombreuses surprises.<\/p>\n\n\n\n
Une fois s\u00e8che, la mousse est un mat\u00e9riau stable, propice \u00e0 la conservation et \u00e0 la collection \u00e0 long terme. Sa l\u00e9g\u00e8ret\u00e9, sa transmission lumineuse et sa tridimensionnalit\u00e9 imposent des limites \u00e0 la cr\u00e9ation artistique, diff\u00e9rentes de celles des mat\u00e9riaux traditionnels.<\/p>\n\n\n\n
Il a exp\u00e9riment\u00e9 l’utilisation d’un couteau \u00e0 peindre pour balayer l\u00e9g\u00e8rement la surface de la colle gonflante afin de cr\u00e9er de la texture, puis a contr\u00f4l\u00e9 l’expansion de la mousse pulv\u00e9ris\u00e9e vers le haut pour cr\u00e9er des sculptures en forme de nuages. Dans ses installations, il utilise une lumi\u00e8re contr\u00f4l\u00e9e pour colorer la sculpture. L’expansion de la mousse laisse passer une partie de la lumi\u00e8re, tout comme la p\u00e9n\u00e9tration des nuages. Il s’attache \u00e0 combiner les technologies, les utilisant pour contr\u00f4ler le changement progressif de la lumi\u00e8re, donnant aux sculptures et installations davantage de couches, cr\u00e9ant des espaces d’expression artistique aux \u00e9motions vari\u00e9es et pr\u00e9sentant des \u0153uvres d’une grande profondeur visuelle et conceptuelle au public.<\/p>\n\n\n\n
La mousse pulv\u00e9ris\u00e9e s’utilise comme de la peinture en bombe, mais apr\u00e8s avoir \u00e9t\u00e9 projet\u00e9e, elle se dilate lentement, selon son \u00e9paisseur, avant de se fixer et de s\u00e9cher en environ 24 heures. D’o\u00f9 son nom de mousse expansive. Le contr\u00f4le de cette mati\u00e8re incontr\u00f4l\u00e9e, avec son expansion irr\u00e9guli\u00e8re, cr\u00e9e des formes organiques. La mousse humide est extr\u00eamement collante, impr\u00e9gn\u00e9e d’une beaut\u00e9 et d’une complexit\u00e9 naturelles et al\u00e9atoires. Leo utilise un couteau \u00e0 peindre pour balayer d\u00e9licatement la surface de la mousse, \u00e9liminant les traces artificielles ou les surfaces trop lisses et cr\u00e9ant des textures fines. Cependant, appliquer une force excessive ou balayer la mousse \u00e0 plusieurs reprises peut provoquer son affaissement excessif et son durcissement.<\/p>\n\n\n\n
Gr\u00e2ce \u00e0 une exp\u00e9rimentation et une pratique constantes, L\u00e9o a d\u00e9velopp\u00e9 une technique m\u00e9ticuleuse, ma\u00eetrisant la pression de la buse et la vitesse de ses mouvements du poignet pour produire des lignes extr\u00eamement fines de mousse expansive, repoussant ainsi les limites de sa finesse. Il estime ensuite le degr\u00e9 d’expansion, ma\u00eetrisant les d\u00e9tails tout en y incorporant une touche d’al\u00e9atoire. L\u00e9o est le premier \u00e0 ma\u00eetriser cette technique pour cr\u00e9er des peintures tridimensionnelles en mousse expansive, d’une qualit\u00e9 calligraphique et d’une grande valeur.<\/p>\n\n\n\n
La projection de mousse est progressivement devenue le langage artistique unique de l’artiste.<\/p>\n\n\n\n
Lors de son exposition personnelle \u00e0 Paris en 2024, L\u00e9o a pr\u00e9sent\u00e9 des sculptures et des installations en mousse expansive.<\/p>\n\n\n\n
Lors de sa r\u00e9sidence d’artiste et de son exposition personnelle \u00e0 Hong Kong en 2025, L\u00e9o a continu\u00e9 d’exp\u00e9rimenter les techniques d’utilisation de la mousse expansive en peinture, brouillant progressivement les fronti\u00e8res entre sculpture, installation et peinture, et cr\u00e9ant une peinture 3D et une calligraphie asiatique en mousse expansive. Lors de son exposition \u00e0 la Galerie KoMo en septembre 2025, L\u00e9o a pr\u00e9sent\u00e9 une nouvelle s\u00e9rie de peintures abstraites en 3D, incorporant des installations d’art en mousse dans les peintures.<\/p>\n","protected":false},"excerpt":{"rendered":"
Exploration and research the limits of polyurethane spray expansion glue (foam glue) materials When working on this project, Yeung tried to find different painting methods and materials to express and visualize the clouds, but he still couldn’t find a material that could express Yeung\u2019s feelings. In the same time, with the advancement of artificial intelligence […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-94","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/leoyeung.com\/art\/wp-json\/wp\/v2\/posts\/94","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/leoyeung.com\/art\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/leoyeung.com\/art\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/leoyeung.com\/art\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/leoyeung.com\/art\/wp-json\/wp\/v2\/comments?post=94"}],"version-history":[{"count":1,"href":"https:\/\/leoyeung.com\/art\/wp-json\/wp\/v2\/posts\/94\/revisions"}],"predecessor-version":[{"id":95,"href":"https:\/\/leoyeung.com\/art\/wp-json\/wp\/v2\/posts\/94\/revisions\/95"}],"wp:attachment":[{"href":"https:\/\/leoyeung.com\/art\/wp-json\/wp\/v2\/media?parent=94"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/leoyeung.com\/art\/wp-json\/wp\/v2\/categories?post=94"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/leoyeung.com\/art\/wp-json\/wp\/v2\/tags?post=94"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}