ART & ARTISTS/CHINA
Half the Sky: Intersections in Social Practice Art
Cultural Exchange and Exhibition
China
_________________________________________________________________

Wang Yi Gang
Chinese Curator
Director, Gallery of the Luxun Academy of Fine Arts
"Let us quietly feel the extraordinary powers of perception found in these women artists' response to their environment. In this endeavor to bring together the art of two cultures, may we appreciate both the difference and common ground found in the vision of American and Chinese female artists." - Wang Yi Gang

Zhao Yin Ou
Chinese Co-Curator

Wang Yi Gang

Zhao Yin Ou

_______________________________________________________________________________________________________________________________________________________________从瓴萁
Cong Ling Qi

为了防止视觉流失--“我的室友” 新媒体装置
2010
140 x 35 x 25 cm

作品过程: 请盲人李葑描述了她熟悉的一个的人(她的室友)的形象, 将描述的语言写成盲文刻在转轮的 表面, 转轮侧面的琴 片由于突起的盲文浮点的拨动可以发出悦耳的音阶。再将发出的声音收入 电脑中的音频软件, 并实时的转化为素描线条所 构成的抽象动画的波形投射在墙面上。

 


In order to prevent the loss of vision--“My Roommate” 2010
New Media installation
140 x 35 x 25 cm

We invited the blind Li Feng to describe the image of a person (her roommate) whom she is familiar with, and carved the Braille translated from her descriptive languages on the surface of a runner. The head-plates at the side of this runner would let out sweet sounds because of the plucking of the denticulations of Braille. Then the sound would be recorded by audio software in the computer and turned into abstract waveform animation constructed synchronically into sketch lines and projected onto the wall.

Cong Ling Qi

_______________________________________________________________________________________________________________________________________________________________冯淋
Feng Lin

未接来电 混合材料装置

“我来了,你不在”是一句很中性的话,用粉笔工整的写在门上又排除了广告和破坏的嫌疑。所以不同的人看了都会从最 近的人和事情反想一下,家庭关系有问题的人,会想到是夫妻一方的情人,小老板会想到是不是来批发货物的,房东也许 会想到是不是有人来租他的房子,寂寞的单身汉可能会想到性服务者,贪官可能想到有人发现了他的受贿行为,胆小的人 可能以为是小偷,得罪过别人的人可能以为有人来复仇,年轻的学生可能以为是一段浪漫感情的开始等等 , 但是这个电话 永远打不通,永远没有人回复,却一直都是开机状态,成为他们心中的一个谜 。 

Of the Missed Calls Mixed Medium Installation

“I’m here, you’re not” is a neutral phrase. Neatly writing on the door can eliminate the suspicion of advertising or graffiti. So this will lead people to think about people they have met or events that have happened recently. A person with marital problems may think this was from the lover of his or her spouse. A business owner may think this message has something to do with his or her business. A landlord may think that a potential tenant came to see the house. A lonely bachelor may think this was for sexual service. A corrupted official may think that bribery acts were discovered. A timid person may think of being robbed. A person who offended others may think this was about revenge. A young student may think this is the beginning of a romantic relationship. No one replies to the incoming calls, but the phone has always been on.

_______________________________________________________________________________________________________________________________________________________________刘桦
Liu Hua

轻尘 布面油画

现实中人们总希望能被人理解,这很累人。好在可以通过画画这件事沉到幽深之处来松开自己。看看融解块垒释放出雾霾 后自我究竟会有多大程度上的通透和明亮。所有这些形成的画面形式语言,体现了我们的存在状况。

Light Dust Oil on Canvas

In real life people always hope to be understood. This is tiresome. A painter can paint to release herself, gazing at the transparentness and brightness after clearing all the blocks between oneself and the surrounding environment. The visual language born in the process reflects the condition of our existence.

 



 

Lui Hua

_______________________________________________________________________________________________________________________________________________________________刘知音
Liu Zhi Yin

八零后 雕塑

青春,不管是美好还是苦涩的,都是我们记忆中极为重要的一段经历。在当下,追忆业已逝去的青春成为非常时髦的话 题。然而,每一代人都有他们专属的青春经历和记忆。作为中国第一代的独生子女,八零后的我们,与过去“呼朋引伴” 的时代不同,我们从小独自在自己的精神世界里长大。所以我们更多的还是根据个人经验、感受去创作,作品具有明显的 个人化元素,但也融合了一些当下流行的语言,比如时尚语言、动漫因素等,我们把这些内容都糅合在一起。作者更强调 以一种自我分析、自我经验、自我感受的方式进行创作。作者在运用卡通化的视觉图式来叙述生活,显示这代人的心灵图 景。作品表现得虽然比较优美,但是隐约流露着哀伤的情绪。作者希望以隐喻的方式来呈现八零后幸福物质生活背后孤独 的精神世界,生命里的不确定,隐隐的孤独感以及少年伤怀青春时光的流逝。

Born After 1980 Sculpture

As the first generation born under China’s one child policy, We grew up alone, in our own mental world. Our creative works are based more on personal experiences, feelings, but we also incorporate a number of popular visual elements, symbols found in fashion or cartoon. I blend all the ingredients together and use a cartoonish visual schema to describe life, capturing the souls of my generation and emphasizing a kind of self-analysis and individual experience. My work looks pretty even though it vaguely reveals sad feelings. In a metaphorical way, I want to present the loneliness, uncer- tainty and dullness felt by the born after 80’s generation, behind our prosperous material life style.

Liu Zhi Yin

_______________________________________________________________________________________________________________________________________________________________刘艳
Liu Yan

废园系列 布面油画

作品以废园和烟葬系列做为创作主线,无论是废弃的工厂,还是空寂无人的舞台,都是一个远逝的往事记忆。灰暗低沉的 调子,空旷模糊的空间,它更像一个记忆通道,是我寻觅到的精神家园。在远离喧嚣和嘈杂的都市,寻觅一个清静的地 方,清静的地方是一片废墟,一个被遗弃的过去。

The Waste Land Series Oil on Canvas

In this series I painted many waste lands and burned down places, whether it was an abandoned factory or a deserted stage. They are all full of memories of a long gone past. Deeply dark tonalities and empty, blurry spaces form a memory channel. In this I found my spiritual home: away from the bustle and noise of the city; a quiet ruin and an abandoned past.

 

Liu Yan

_______________________________________________________________________________________________________________________________________________________________唐钰涵
Tang Yu Han

万能
雕塑,装置 我出生于一个望女成凤,母亲又是一位对四柱八卦与中国风水着迷的家庭。父母从小培养我画画,供我读中央美院。以前 没有条件对我要求些什么,现在却在他们乔迁新居以后一面希望我能给家里做点雕塑,一面却不希望我将来做全职艺术 家。我应邀给八字缺水的父亲做了一面水珠绽开的浮雕墙,2010 年春节前夕安装到了新居北墙。没想到亲戚朋友都拿这 个当背景墙照相,还跟我索要。他们都是最普通的人,不懂什么是艺术,更不知道什么是当代艺术,但却被这个补水招财 的雕塑吸引。去博物馆、画廊看当代艺术展的中国人,除了内行,有的是爱好者,有的是跟风,还有的是好奇。其他大众 就被完全排除在当代艺术之外了吗?当代艺术难道就应该是小众化的,就应该不被普通人理解,就应该离生活经验很远 吗?历史环境所造成的这种局面难道不是艺术家应该来解决的吗?中国风水的文化,风水的方法论被当代人传承沿用,可 是几千年前为风水创造的雕塑却没有任何的发展,反而成了当代的工艺品。没人把这种神秘深奥的文化当成艺术来看待, 也没人觉得艺术品能与风水有多大关系。我却希望通过这次实验,从风水文化中孕育和衍生出适应当代社会审美需求的艺 术品,以一种新的可能性来呈现人与文化与艺术之间的关系,同时也给艺术提供一种新的可能性。 

Almighty
Sculpture & Installation

I was born to parents who had very high hopes for my future success, and to a mother who is a feng shui fanatic. According to a traditional Chinese fortune-teller, my father lacked the vital element of water, so my parents asked me to create a feng shui-inspired “water wall” for their home. On Chinese New Year’s Eve in 2010, I installed this water wall sculpture on the north wall of my parent’s new home. It is designed to bring my father prosperity and good fortune. Although feng shui culture, traditions and methods continue to play a part in people’s lives today, feng shui sculpture has remained essentially unchanged for thousands of years. Today, it has been relegated to the role of a traditional handicraft. Through this experiment, I hope to incubate and foster artworks suited to our contemporary aesthetic needs.

 

Tang Yu Han

_______________________________________________________________________________________________________________________________________________________________姜晓梅
Jiang Xiao Mei

盛世 雕塑,装置

盛世一系列作品,采用中国古钱币的造型,用透明的鱼线将单个的铜钱编织起来,将每个个体重组成一个形象——椅子或 衣服,椅子象征着位置和权力;衣服象征着美丽和荣华。作品整体造型给人富丽堂皇,盛世繁荣的景象,被封存在透明的 保护罩内,然而,整体的造型很脆弱,当每个个体的铜钱改变了位置,整体形象就会改变或者毁掉,沉重的铜钱好像悬浮 在空中,有一种不稳定感。我在思索金钱、权利、繁荣之间的关系。


Prosperous World Sculpture & Installation

Creative concepts: the Prosperous World series is made from ancient Chinese coins, using transparent fishing line to tie bronze coins together and form an image of either a chair or clothing. A chair symbolizes a position of power. Clothing symbolizes beauty and splendor. The work, being sealed in a transparent protective shield, gives an impression of grandeur and prosperity. However, the overall shape is very fragile. If each individual coin changes position, the chair and clothing can be easily destroyed. The sense of instability represents the relationship between money, power and prosperity.

 

Jiang Xiao Mei

_______________________________________________________________________________________________________________________________________________________________宋卓然
Song Zhuo Ran

好梦 投影装置

不安和荒诞经常出现在我的作品里,影像本身就是一种诗意的再现。它的时间性,包容性,随机性是让我非常感兴趣的部 分。在我的作品中,时间和地点被我转换成一种特殊的语境和环境。世界本身是复杂和多变的,每天每个人都置身于一个 高度人为和规则的空间中,现实与虚拟之间的界限也变得更加模糊。我们伴随着迪斯尼动画和玩具长大,这些启发我们认 知世界,玩具也是一个缩小的社会形态,他让我们可以去设想另一种内心空间,也可以说是一种内心的感受,是对现实的 虚弱和无能为力。

Good Dream Video Installation

Anxieties and myths often appear in my works. Images are poetic reproductions of reality. Their timelessness, inclusiveness and randomness deeply attracts me. In my work, I convert a point in time and a certain place into a special context. The world itself is complex and changeable, yet we live our daily life in a constrained and highly artificial space. Boundaries between real and virtual worlds become more blurred. I grew up along with Disney animation and toys, which inspired me to perceive the world and social orders. On the other hand, they allow me to envision another inner space, where I feel weak and powerless against reality.

 

Song Zhuo Ran

_______________________________________________________________________________________________________________________________________________________________张然
Zhang Ran

.神 布面油画

“抒写”和“描述”,远远没有“体验”“感受”和“经历过”更重要。无论是绘画还是写作,人们都希望能把经由体验 而得的感受与心理变化通过各种形式表现出来。任何一种文字形式、绘画形式或音乐形式,在我的理解,都是在通过对这 些由个体已得的体验和感受的“转化”,而得出的艺术作品。描述和呈现是一种很难的方法,但在创作中又必须要去做的 方法,即使你的创作是一个“去文学性”的作品。然而有时,不停地在画面上补充添加一些形象及含义,总怕被观看者误 读,不被理解,不停地述说,以至于让人产生一种反感厌恶的情绪,在别人的心中变成一个“话痨”。这就又变成另一种 局面了。遗憾的是,最优秀的“译文”也都没有人们内心真正的潭深谧静或波涛汹涌更神奇美丽,我们都在努力传递内 心,努力做到准确,但这是件难事,我们只能努力。

Goddess Oil on Canvas

“Expressing” and “describing” is far less important than “feeling” and “experiencing.” All art forms, as I understand them, are the result of converting individual artists’ experiences into forms. Therefore, even though describing and ren- dering one’s experience is difficult, these are the tasks that artists have to take on during the creative process. At times, adding elements and forms on the canvas can mislead the viewer. I am always afraid of not being understood, so I keep “telling,” even though I started wanting to describe less . . . Often even the best “conversations” are still inadequate to express our inner selves.

 

Zhang Ran

_______________________________________________________________________________________________________________________________________________________________徐丹
Xu Dan

“ 幻想世界的回音”自拍 8*10 手工针孔相机胶卷
Litho Film

受益于高科技武装的机械相机和数码相机,我感受着不同类型摄影的力量和震撼。如果抛却摄影的社会性和功能性,抛却 物质上的辅助工具相机,摄影是什么?我们为何而拍,这种行为是怎样打动了人类去不停的探索和发现?因为这诸多困 惑,我在那个阶段迷恋上“针孔相机”。摒弃机械相机和数码相机等科技力量带给摄影的辅助功能,利用直接的摄影语 言,试图探索摄影本质。低感光度的黑白Litho Film, 2-5分钟长时间曝光,我用一部手工制作的8*10针孔相机视觉探索在 不同种族和异国文化的体验中,女性在自我认知过程中的冲突、抵抗和矛盾,以及女性本体在成长过程中人生观的打破和 再建立的真实状态。在那个阶段,我在慢节奏的,原始的拍摄方式中感受着摄影最初带给人类的感动,放慢节奏去探索和 挖掘东方女性体验西方文化的过程。

Echoes of a fantasy world 8*10 handmade pinhole cameras Litho Film

We all feel the power of the latest technology. But if we strip away all these 21st century aids then what is the photographer left with? Why do we take photographs, and how does this act inspire people to explore and discover the world? These questions puzzled me. Abandoning the machinery, science and technology that come along with high- tech cameras and using direct pictorial language, I try to explore the essence of photography. Equipped with black and white litho film of low sensitivity and 2-5 minute long exposures, I used a handmade 8*10 pinhole camera to explore the visual experiences of different races and cultures. I also wanted to document the process by which a female becomes self aware, and the conflict, resistance and contradiction one feels along the road. I enjoy the slow-paced feel in the way photography enchanted humanity originally, and in the way a Chinese woman experiences western culture.

Xu Dan

_______________________________________________________________________________________________________________________________________________________________李一濛
Li Yi Meng

猫头. 皮 混合材料

我的雕塑作品以布料为主要材质。布料本身具有丰富的质感、光泽和颜色的变化,给予我在创作中更多的发挥空间。《头 像》头像系列是对中国民间传统诸神的诠释.

Cat Head Skin Mixed Media

My sculptures use fabric as the main material. The cloth itself is rich in texture, glossy and colorful. It gives me more room to play in the creative process. Of the Heads series is my interpretation of Chinese traditional folk gods.

 

Li Yi Meng

_______________________________________________________________________________________________________________________________________________________________李小诗
Li Xiao Shi

作品自述 偶变

“为了成为自己,人们不仅应欢迎混乱,超越本身和那种重新启动的权力,而 且应该接受过去一切不可变更的方面,接受现在 一切不可控制的方面,并接受将来 一切出乎预料的后果。”当人们面对一面镜子的时候,看到的是最最熟悉的自己。 我们无法改变镜中成像的真实性,却可以改变镜子之外相对于自身的变化。我们无 时无刻地陈述着自身转变的概念。就自 我本身而言,时间是变化的载体,是成长的 长河,在岁月无暇顾及的空隙,我们苟延残喘,等待产生蜕变的勇气,然而这是多 么 的微不足道。当我们走进周而复始的时间黑洞,便埋葬了自己;以求窥探生命本 源的一丝光线,给灰暗的周围一点奢侈的救 赎。时间的畸变与混沌的思维吻合,在 它渐渐清晰的同时,沉默不得不伴随而来,迎接佛陀普渡众生,脱离苦海。颠沛流 离的 生活让人们变得疯狂,是谁在那莫名的海岸剥去白昼的外衣,让黑夜拉开帷 幕?是谁在我们的心灵种下干涩的果实,等待不寒 而栗的收获季节?当心已沉入死 海,为什么要挣扎着坠落波涛翻滚的长河。无法正视那永恒的墓志铭。曾经寻找过 可以收 藏灵魂的器皿,曾经畅想过缝合碎骨的黑线,曾经憧憬过杳无人烟的荒原。 

Doll’s Changing

In order to become their own, people should welcome chaos beyond itself, restart the power, and be acceptable to all aspects of the unalterable past. Accept now that everything is uncontrollable and accept all future unexpected consequences. When people are faced with a mirror, they see the most familiar. We can not change the authenticity of the exterior mirrored image, but we can change with respect to our inner selves.

Li Xiao Shi

_______________________________________________________________________________________________________________________________________________________________燕思雯
Yan Si Wen

沙尘暴 2013 霓虹灯管、木板

作品拍摄于美国与加拿大交界处的Niagara Fall,当我站在美国领土遥望另一个国度的时候,我有一种难以阐述的困惑 感。我想,这种困惑可能是源于对童年的回忆......瀑布所产生的水气似乎是在为我制造一个我所熟悉的梦境,就像一个即 将到来的“春天”。我所生活的“春天”是一个多风、多沙尘的北方地区,那种风沙所带来的窒息感使人看不清周围的一 切。从很小的时候我就经历过沙尘暴,漫天的黄沙和灰红色的天空。也许是儿时这种经历,使我并不抗拒这种沙尘天气, 反而会带给我一种莫名的忧伤与浪漫,这种浪漫可能来源于儿时的幻想,也或许是少女情怀对未知的向往,也可能是那灰 红的天空所带来的神秘......。这一切都交织在一起,让我的梦境变得吸引人而又不可预知。我把红色霓虹灯幻化成梦境的 延伸,它们不是符号,而是真实的少女情感的载体,承载了每一个梦境。我所呈现的一切,即使沙尘暴所带来的真实,也 是沙尘暴所带来的幻象。

The Sandstorm 2013 Neon tube, wood

The picture was taken at Niagara Falls, on the boarder between two countries. As I stood in United States territory looking at Canada, I felt confused by another scene from childhood memory . . . The vapor from the waterfall reminded me of the early spring in my hometown. I live in a windy and dusty place in northern China. The sandstorms make peo- ple feel suffocated and blind their vision. It gives me a sense of melancholy and romance, which may have come from a child’s fantasy. I remember feeling longing for an unknown and mysterious world . . . I turned to red neon signs as an extension of my childhood fantasy and my teenage emotions...

 

Yan Si Wen

_______________________________________________________________________________________________________________________________________________________________王庆珍
Wang Qing Zhen

生灵4 材料棉布、叶脉、扣子、珠子、蚕茧、花蕊,规格 60 X 60 cm

来源于对女士衣饰材质的单纯感触,并编制出复杂的生命联想,又总是在女性身体的片断意象中渗透出细腻的女性感受和 性别视角,该幅作品有其鲜明的特点。《生灵4》密布的点状装饰手段,向上的生长状态流动的线条,规矩中不乏突破,意 旨生灵皆是按照一定生长规律并按照其本意自由发展的自然状态。

Creature 4
cotton, veins, buttons, beads, cocoons, pistil 60 X 60 cm

The creative inspiration came from the pure feel of women’s clothing materials. The weaving process of these materials is like the complex life process of a woman. From a women’s perspective through my work, I try to present the sensitive nature of a female body. In Creature 4, I used the dotted decorations and upward lines to represent the growth law in accordance with the tenor of life

 

Wang Qing Zhen

_______________________________________________________________________________________________________________________________________________________________王慧娜
Wang Hui Na

她从历史中走来 版画

感受图片,使过去和现在汇聚于一起.将那些物象复原,创作出具有视觉艺术的图象.它使我感觉不到时间的推移.不同的景物 和故事,轻轻地走来,聚合在一起,成为流逝不掉的情感.

She Came from History Print

I aim to create work that bring the past and the present together, restoring old images and finding contemporary elements in them. The process makes me lose the sense of passing time. The changing scenes and stories gently bundle together, becoming everlasting emotions

 

Wang Hui Na

_______________________________________________________________________________________________________________________________________________________________田寒
Tian Han

我的痛你知道 丙烯画

2012至2013的大部分作品其实是在既有的视觉载体上进行的多次再创作,如杂志、报纸、书籍等等。有时我会将这些视觉 载体打碎,然后再根据自己当时的感受重新组合它们并结合粗糙的手绘,所以经常在画面中会出现很多意想不到的冲突和 矛盾。我的近期作品逐渐趋向于创作结构的拼贴性和零散性以及创作内容的’去中心化’等特征,希望能够体现出创作视 角的多元化。

You Know My Pain Acrylic Paint on Paper

Between 2012 and 2013, most of my works have been based on images that already existed in magazines, newspapers, books and so on. I break these images down into different elements, and reconnect them according to my own feelings. Many unexpected visual conflicts and contradictions will appear on the canvas. My recent works are gradually moving towards the fragmentation of structures, as well as decentralized contents, to embody a diverse set of creative angles.

 

Tian Han

_______________________________________________________________________________________________________________________________________________________________耿旖旎
Geng Yi Ni

下坠的黄球 布面油画

在今年最新作品的尝试中,我试图摆脱以往那种叙事性的表达方式,从故事的长线中敏锐捕捉最具代表性语言的点,也就 是类似于镜头碎片似的截图,作为创作的整体背景。通过看似空无一物、实际上却经过理性删减掉更多情节、人物、内 容。仅存留奢华、浮夸的场景作为背景,再用绘画感较强的强硬的方式将一些不相干,甚至突兀的事物覆盖在这种离我以 往生活环境相去甚远的背景之上,获得一种相对概念。这种相对概念来自于那种不相干的背景与主体物叠加所产生的荒谬 结果,有的甚至来自矛盾、截然相反的事物对接后意外带给观者的奇特的感受。这种结果不是一种唯一特指,而是故意制 造出来的一种随机反应。

Falling Yellow Ball Oil on Canvas

In my latest paintings, I attempt to get away from the narrative expression of my past work, by limiting myself to
only the most representative visual elements. This camera-shot style imagery becomes the overall background of my paintings. These background scenes are seemingly empty but have actually gone through a rational omission of plot, characters and contents. What remains is only the most flamboyant imagery. I then add some irrelevant objects to the scene in a strong rough painting manner. The absurdity resulting from overlaying contradictory and even diametrically opposed objects brings viewers unique visual experiences. This is a deliberately created random reaction.

 

Geng Yi Ni

_______________________________________________________________________________________________________________________________________________________________范晓妍
Fan Xiao Yan

难题-02 雕塑

我的作品“难题-02”用扣子和线这些代表女性擅长的事情,表现女性在自己热爱的事情上也是游刃有余,随心所欲的。 我将扣子,线全部替换成不锈钢材质,原来很柔软的线变的钢硬冰冷,然而钢硬的不锈钢线在她们手中也变的柔顺听话, 她们用自己辛勤的双手,细腻的做工,认真坚韧的态度勾勒出美丽的图画,完美的去完成每一件事情。同样,扣子和线也 是困难坎坷的代表,扣子像一堵墙,一堵拦住去路和方向的屏障。线可能就是人生路上的荆棘。只有敢于挑战不怕困难的 人才能迎面冲破它,战胜它并且很好的利用它 。 


Difficult problems-02 Sculpture

In my work Difficult Problems-02, I use buttons and thread to represent things that women are good at. However, my bottoms and threads are made of stainless steel, in contrast to the ordinary buttons and soft thread we find in daily life. The women in my work can handle hard stainless steel wires, making exquisite objects and perfecting every job. Similarly, buttons and threads are representative of difficult circumstances faced by women. Buttons are like walls or barriers that can block roads and directions. Threads represent thorns in life’s journey. Only the women who dare to challenge such obstacles can overcome difficulties.

 

Fan Xiao Yan

_______________________________________________________________________________________________________________________________________________________________莫棣
Mo Di

美院毕业生 摄影

用一段文字,描述了一个特定的虚幻的场景。用手机发给身边不同身份的人。 他们依据这段文字来拍摄出各自的理解。 以此反应了不同身份的人对社会和生活现象在理解上,观念上,以及关注点上的差异。

Art School Graduates Photo Prints

Providing a brief, which describes an imagined scene. Send it to a few people with different identities and background They each take a photograph according to the brief, based on their own understanding. This shows the difference between individuals, on their understanding, perception and perspectives of our society.

 

Mo Di

_______________________________________________________________________________________________________________________________________________________________蔡世瞿
Cai Shi Qu

春河里 摄影 

居伊德波认为世界已经被拍摄。春河里,春河里,春河里,作为已逝的又新建立的景观,也是时间轴上存于某一点的谁的 景观。

In the Spring River 
Photo Print

Guy Debord believed that the world had already been shot by a camera. The spring river has already deceased, and the newly built landscape is someone else’s view at a certain point in time.

Cai Shi Qu

_______________________________________________________________________________________________________________________________________________________________袁佳
Yuan Jia

复活的前奏 雕塑

在我的作品中,对于木头的造型和塑造并不是要点,木头的质地和性质也不是我要拿捏的关键。一种心里的对于具有修饰 性的虚假拟真结构的朦胧的认同感及对于木质材料的温暖的记忆,构成我对于作品形态感觉及实现渴望。荒谬性和情绪的 错位性直接导致戏剧的效果出现,逼近一种具有生活和生存意义上的崇高感。

The Prelude of Resurrection Sculpture

In my work, modeling and shaping wood is not the point. The mastery of the texture and characteristics of wood as a medium is not of much significance to me. The desire that leads me to realize a certain feel for a piece of work comes from my love for decorative structures that can only exist in the virtual world of wood in my memory. Through the par- adox and the emotional dislocation felt in my work, I try to convey something dramatic that resembles an experience of sudden acquisition of a noble sense of purpose.

 

Yuan Jia

_______________________________________________________________________________________________________________________________________________________________赵银欧
Zhao Yin Ou

我一直想接近这个令人不安的真实, 
总是找一些把我带到绝望中的境地, 
让我力不从心的地方, 
在通往自卑和自古的内心之路, 
自己铸造自己, 
用无法熄灭之物来燃烧。

-创作笔记节选

I’m always trying to get close to that disturbing reality Always looking for what will take me to a place of no hope A place where I’m helpless
On an inner path to feeling inferior, to self-torturing
Myself forging, shaping myself
And for the burning, using a substance that can’t be put out

-From “Notes & Thoughts” Translated by Robin Setton 

Zhao Yin Ou

_______________________________________________________________________________________________________________________________________________________________邓菁
Jing Deng

加载中:中国教育 布面油画

“加载中:中国教育” 的创作灵感来自于一个电视节目。画中的这些孩子是从中国农村来城市打工的民工的孩子们。这 些孩子却不能在城市里享受和城市孩子一样的受教育的机会因为他们没有城市户口。左上角的“中国教育”字样是电视频 道的名字。我试着把这个场面画成正在加载中的电视画面,因此而扭曲了一些局部,隐喻当下的教育制度。

Uploading: Chinese Education Oil on Canvas

Uploading: Chinese Education was created from my memory of a TV story. These children were the offspring of Chinese migrant workers, who moved to the city from rural China to take on physically hard and dangerous jobs in pursuit of better living. Their children, however, are denied access to the city school system because they do not have city resident registration. The Chinese characters on the left corner of the painting read “Chinese Education,” the name of the TV channel. I tried to create a distorted visual effect, symbolizing the distorted Chinese Education system.

 



 

Jing Deng