Yulin Gu’s Over Exposure derives from her attachment to plastic and the collective memories the material is able to carry. Through her experiments with photography and sculpture, Gu expands the potential of domestic objects and studies their connections to urban infrastructures. 

Behind the aesthetics of plastic products is the simple understanding of life, which is formed in the accumulation of time as unconscious originality and collective memory. Akin to contemporary folk art mass produced by industry, the plastic products are forms without fraud and symbols without purpose. These objects are simultaneously prevalent and marginalized, but Gu absorbed them into her artistic practice. The raised or recessed centers in plastic structures symbolize the birth process, resembling lovely navels left behind by industrially produced mothers for their offspring. By puncturing these centers and stringing them together, she achieves balance and performs a metaphorical act of cutting umbilical cords. 

She finds warmth and harmony in the chaos of life, its colored plastic, and the balancing act.