■ ■ 藝術家自述 ■ ■
Artist Statement of Exhibition
In my wanderings around this city, I found inspiration in Chongqing’s uncannyvibe. Vacant windows and doorways of formally inhabited spaces are contrastedby a winding labyrinth of passageways that hum with activity. I wasparticularly taken with moments in which the forest attempts to reclaim thecity’s occupied spaces. Tangles of roots, vines and ferns twist and furl upfrom the cracks in the concrete. Stained walls, crumbling stones and rustedrailings are worn and weathered from the humid climate. In these mundanemoments, there is a tension between the occupied and the abandoned; theanimated and the inert; the ethereal and the telluric. I wanted to capture thevibratory quality of this thin boundary between ordered lived spaces and thechaotic vegetation that intertwines. The presence of these discarded dwellingsreminds me that, even in a city of rapid growth and development, the promise ofpossibility and the anxiety of collapse exist side by side as an innately humandichotomy of thinking. There is something otherworldly and hauntingly seductiveabout these hallow ruins. As I watch the nature push in and take back overthese liminal spaces, I can’t help but feel strangely drawn to staring intothis subtle abyss and musing about the wild prevailing over the civilized.
– Jacqueline Shea Caraglior（美國｜USA）
■ ■ 策展人前言■ ■
I have to admit that Chongqing is indeedmagical, and also praise that artist Jacqueline has directly and vividlydisplayed this magic to us, presenting paintings with unique aesthetics. Thistime, Jacqueline’s residency is only one month, which is short.
Why is Chongqing magic? A visibleexplanation is that the city presents a prosperous scene including mutualpenetration of natural ecology and human activities. In other words, we aregoing along the mountains and rivers, nature is also refreshing us. Usually, wemention the collision between human cities and nature, which brings out theopposition and boundary sense between the two. However, once these descriptionsfall to Chongqing, they will melt instantly. More feelings are random and lesstangled.
Artist Jacqueline is also talking about”boundary”. When we read the Jacqueline’s previous works, we can feelthat the “boundary” are crossing through on the paintings. Under theartistic treatment of complanation, composition and artist’s subjectivity, itcontains the artist’s expression of the confrontation between nature and humanbeings.
但這次，“邊界”已然是另外一種狀態展現在批新的創作中，藝術家從容且真實寫照了重慶這般自然生機的城市景象，跟隨這些曲折蜿蜒的植被穿越“邊界”，蔓延過塵世間，由此獲得了新的感悟。關於自然與人類的相剋相生，是藝術家始終專注的命題。我想，這個命題也在重慶駐留的這段時間中得到了不一樣的解答。藝術家把此經歷形容為“Transmundane”，暫譯為“超凡” – 越過世間。
But this time, “boundary” isalready another state, which is displayed in the new batch of paintings,Jacqueline calmly and truly portrayed the natural and vibrant urban scene fromChongqing, followed these winding vegetation, through the “boundary”,and spread across the reality, thus obtaining a new understanding. It is aproposition that Jacqueline focus on the mutual restraint and coexistence ofnature and human beings. I guess this proposition also got a different answerduring Jacqueline’s residency in Chongqing. Artist Jacqueline described thisexperience as “transmundane”, translated as “超凡” – beyond the ordinary.
from asame feeling of migrant to Chongqing
■ ■ 藝術家介紹 ■ ■
Introduction to the Artist
The College of New Jersey, Bangkok, Thailand and Mallorca, Spain — Global Graduate Program
Masters in Elementary Education, July 2019
University of California, Los Angeles, Ca — School of Arts and Architecture
I am attracted to novelty within the mundane. By tapping into an altered state of awareness, I attempt to crystallize the uncanny and de-familiarize the common. The relationship between light and shadow operates both visually and metaphorically in my work. In nature, the line between order and chaos plays out in the tension between growth and decay. In inhabited spaces, this juxtaposition can be found in the wild pushing up against the constructed. By examining the boundaries in-between, these thresholds have the potential to reveal what is beyond the veil of perception. In this liminal space, I find a strange moment of clarity, a certain vibratory quality, that captures the animistic quality of our world. I believe it is an innately human pursuit to attempt to carve out the sacred and the profane. It is with this goal in mind, I paint from my experiences.
I have found several specific aesthetic subjects of curiosity related to these concepts. Abandoned spaces have a certain nostalgic quality in the domestic details left behind, while their dark doorways or windows seem like portals into the abyss. Places of transition such as pathways, bridges and stairways seem to hum with activity even when vacant. Walled cities or walled gardens illustrate an attempt to delineate and claim space, ultimately representing the threshold between the wild and the civilized. The records of past settlements and rituals survive within ruins and stacked stones. The vegetation that ultimately intertwines and reclaims them is a reminder of life’s ephemerality and impermanence. Most recently, I have been entranced by the shadows cast on walls and the weathering that accumulates on old walls as markers of the passage of time. Shadows showing the micro, fleeting moments of the day and weathering the macro, longer strokes of generations gone by.
關於本次駐留︱About this Residency：
我被重慶獨特的氛圍和風格迷住了，尤其是那些作為城市歷史實物記錄的建築遺跡，它們有的被重建，有的被遺棄。這些空心結構是如何與那些在整個渝中半島靈活地蜿蜒而行、迷宮般的通道形成鮮明對比的呢？沿著河流行走時，我看到層層風化的支撐物在水流中心剛性地支撐起城市的邊界。所以在此期間，我想要更多地瞭解、考察河流的內在界限和與建築的交匯處的象徵意義。我很榮幸有機會在 DAC 駐留，希望在駐留期間能夠更深刻地認識、感受重慶。
I am captivated by Chongqing’s unique vibe and aesthetic. I am particularly fascinated with the physical record of the city’s history in the remains of old structures, sometimes built over and sometimes abandoned. I am taken by how these hollow structures are contrasted by a labyrinth of passageways that hum with activity, as they wind throughout the peninsula. Along the rivers, you can see layers of weathered walls and supports rigidly holding up the boundaries of the city from the confluence of flowing waters. The inherent liminality of rivers and the symbolism of the crossroads is something I would like to consider, when learning more about Chongqing. I feel very fortunate for the opportunity of my residency at DAC and hope to find a deeper sense of place during my stay.
At the start of my residency, I will spend time drawing plein-air and capturing photographic references out in the city and in the wild spaces beyond its reach. I would specifically like to explore the concepts of the conscious and subconscious mind in relation to inhabited and uninhabited space, and the thresholds in-between, in a series of large-scale paintings. I feel that Chongqing is an ideal location for my inquiry into the margins between knowing and not-knowing.
以往作品介紹︱Introduction to Previous Works：
■ ■ 展覽信息 ■ ■
《超凡》，美國藝術家Jacqueline Shea Caraglior個展
“Transmundane“, Solo Exhibition by American Artist Jacqueline Shea Caraglior
開幕時間 Opening Time：
展覽週期 Exhibiton Time：
2021.7.30 – 2021.8.08（14:00-18:00）
展覽地點 Exhibiton Location：
重慶 · 十方藝術中心 · A展厅
Chongqing ·Dimensions Art Center·Hall A
駐留藝術家 Resident Artist：
Jacqueline Shea Caraglior（美國｜USA）
藝術總監 Art Director：曾途 Zeng Tu
策展人 Curator：何京 He Jing
翻譯協助 Translation Assistance：羅玲 Luo Ling
執行統籌 Coordinator：劉春利 Liu Chunli
現場拍攝 Photographer：胡克 Ben
十方藝術中心（DAC）Dimensions Art Center (DAC)
支持方 Supporter：快彩印務 Kuai Cai Printing
郵箱 : firstname.lastname@example.org
Website : chongqingdac.org
Email : email@example.com
Facebook : Chongqing Dimensions Art Centre & Chongqing Artists In Residency
Address : Huangjueping GuanJiaLin 190, Jiulongpo, Chongqing, CN.