a threada rip, a seed


    A thread binds us together; A rip in the fabric of reality allows for a seed of understanding.

十方展覽現場  | Exhibition Scene at DAC

    史提芬·穆霍爾在他的論文《檸檬有多複雜》中,探討了給事物命名的哲學困惑。在本體論相對抽象的哲學領域裏, 感知、關聯、確定主題和對象的複雜性同樣適用於真理、藝術、語言和宣傳的討論。

    Steven Mulhall, in his essay ‘How complex is a lemon?’ speaks of the philosophical quandaries around naming things as they are. In the fairly abstract philosophical realm of ontology, the complications around perceiving, relating and determining subjects and objects can be similarly applied to discussions on truth, art, language and propaganda. Mulhall says:







“Nietzsche claims that truth is a mobile army of metaphors: because our representations of the world are the result of multiple mediations, assuming their veracity involves imputing an identity between a series of phenomena that are patently not identical. Hence they cannot but falsify the reality they purport to represent.”

 -Mulhall, S. ‘How Complex is a Lemon?’ 

London Review of Books, Vol. 40, No. 18


十方展覽現場  | Exhibition Scene at DAC


    When we approach looking at the world in this way, the binary subject-object connection becomes entangled in a 3-way relationship, between what Mulhall calls the subject, the sensual object and the real object. The real object withdraws behind a sensual object (the appearance of an object) and its sensual properties, as the true nature of the real object (its essence) is merely an intellectual construction. According to Buddhist philosophy, the binary nature of subject-object relations also fails to encompass the inter-related and intra-connected nature of all things. On an elemental level, we are simultaneously subject and object.

蘇格蘭藝術家Ginny Elston 女士 | Scottish Artist Ms. Ginny Elston

十方展覽現場  | Exhibition Scene at DAC

十方藝術中心總監曾途先生 | DAC Art Director Mr. Tu Zeng


    These notions of accessibility, truth and visibility are interrogated in Scottish painter Ginny Elston’s works, in her solo exhibition ‘a thread, a rip, a seed’, opening on Saturday 27th April at the DAC. Through the material languages of paint, silk and thread, she questions the nature of secrecy and privacy, what is hidden, what is protected and also what is concealed and what is revealed, willingly or unwillingly. The Chinese landscape, and the symbol of the mountain in particular, becomes a vehicle through which one can explore truth and reality. 

十方展覽現場  | Exhibition Scene at DAC



    The language of painting, its processes, its structures, its modes and its imagery, seems a very suitable method for the artist to transmit specific feelings or states that are at once definite and yet indefinable. Through the eyes of the artist, painting becomes a type of pre-verbal language and a necessary conduit to speaking of her experiences of living in China, whilst also connecting to a core spirit or essence of being human. The physical act of painting, of pushing, pulling, diluting, pasting on, scraping off, dribbling, dripping, pouring, soaking and staining pigments with binder in that leave a series of marks on a surface that resonates is still a primordial and magical experience to witness, and one that seems more important than ever to retain in the fast-paced, digital era of the 21st century. Her paintings seem to present the power and presence of a journey undergone physically, out in the landscape, as well as providing a more intimate diary of the more personal journeys of creating and making that the artist has undergone in the studio. Speaking about her practice, Ginny says:

    “An artistic practice to me often means stepping into a zone where you are faced with your deepest, most intimate and often most uncomfortable aspects of yourself. As you spend days, weeks and months in your studio, the natural wave of rising and falling emotions takes you along a journey of deep reflection, which contain a myriad of mental states: doubt, dullness, momentary elation, profound contentment and perseverance. In these transitory states, we often meet the most vulnerable parts of ourselves, whether we are sometimes paralysed with fear, overcome with sudden anxiety, or elated with a fragile sense of wonder about what it is we’re doing. In practicing our art, we touch our greatest fears and we realise, embody and map the altering states of impermanence that make up our lives as artists.”

藝術家Ginny Elston 在四川美術學院 | Artist Ginny Elston at Sichuan Fine Arts Institute


    Mulhall continues, “Heidegger always emphasised that something about the real Being of things necessarily withdraws from us”. What becomes clear in her work is the acceptance that some things must necessarily remain hidden from us; some quiet, enigmatic part of the work is kept just out of our reach. The artist further remarks: “what a distance between that which is kept from us and which adds mystery and beauty to our lives, and that which deliberately veils our eyes from seeing things as they really are”.


    Taking influence from Shu embroidery techniques, as well as visiting Buddhist temples and monasteries, we see many symbols of China finding their way into the artist’s work.  Her highly ornamented thread works, and intricately detailed topographical paintings of the land that feature repeated patterns of symbols and signs, speak of the visually dense, colourful and decorative artworks found in temples and places of spiritual sanctity. The work of Dong Qichang, Chinese scholar, painter, calligrapher and art theorist of the Ming Dynasty, has also resonated with the artist, as can be seen in her traditional mountain scenes and her works based on the characters 奇 (Qi) and 正 (Zheng). These two elements refer the traditions of painting and the creative act of painting itself, where 奇 Qi in this context means firstly difference or oddness, the state of being unbalanced, but ultimately original. 正 Zheng primarily translates as central or upright and straight, but also regular, proper and honest. Both properties individually brought forth messages that were rich in value, meaning and composition, however when they were brought together in one painting, the artist had succeeded in making an artwork unique in its originality, whilst also being seeped in the rich knowledge and heritage of landscape painting. Meanwhile, the more dynamic and larger canvases and scrolls feature dense layers of stripes which in part obscure and hide words, images and patterns, whilst also allowing us to peek through these windows on to living life as a foreigner in China.

十方展覽現場  | Exhibition Scene at DAC 


    The artist says: “The mysterious, enigmatic space around intuition, subconscious and meaning in an artwork always puzzles me. There’s always a certain part of an artwork that remains remote to us, there’s always a little left unsaid. Copious tiny messages and implicit meanings transmit themselves through an artwork, which often transcend our consciousness and ability to recognise, interpret and understand. It’s this untouchability, this remoteness, that will always keep part of an artwork alive and unscathed for me, unanalysed, when all its other meanings and associations have become exhausted. The formless, the meaningless-ness, the beyond-reach-ness, the space, the gap in our comprehension is potent, full of magic.” 

文 / Ginny Elston

現場拍攝特別鳴謝 / Ginny、任長松、程緒楠、何京

■ ■ 展 覽 開 幕 現 場 ■ ■ 

Exhibition Opening Scene

 十方展覽現場  | Exhibition Scene at DAC 

■ ■ 展 覽 部 分 作 品 展 示 ■ ■

Part of Works in the Exhibition

▲ 《 無題(i)》,絲綢與紙面墨水、丙烯,72釐米x 184釐米

Untitled I, Ink and acrylic on paper and silk, 72cm x 184cm

《 無題(ii)》,絲綢與紙面墨水、丙烯,72釐米x 184釐米

Untitled II, Ink and acrylic on paper and silk, 72cm x 184cm

▲ 《 真實物體,感官物體(ii)》,絲綢與紙面墨水、丙烯,72釐米x 164釐米

Real Object, Sensual Object (II), Ink and acrylic on paper and silk, 72cm x 164cm

▲ 《 看天安門 》,紙上墨水,31釐米x 35釐米

Seeing Tiananmen, Ink on paper, 31cm x 35cm 

▲ 《 尋找天安門 》,紙上墨水,28釐米x 35釐米

Looking for Tiananmen, Ink on paper,  28cm x 35cm

▲《 金佛山的隱藏路徑 》,布面水粉、墨水、線,直徑20釐米

Hidden Paths at Jinfo Shan, Ink, gouache, oil and thread on canvas, 20cm in diameter

▲《 消失於金佛山 》,布面水粉、墨水、線,直徑20釐米

Disappearing at Jinfo Shan, Ink, gouache, oil and thread on canvas, 20cm in diameter

▲《 精神遭遇 》,紙上水粉、墨水,31釐米x 27釐米

Spirit Encounter, Ink and gouache on paper, 31cm x 27cm

▲《 小步,大壯舉 》,紙上水粉、墨水,25釐米x 26釐米

Small Step, Big Feat, Ink and gouache on paper, 25cm x 26cm

▲《 金佛山的啟示 》,紙上水粉、墨水,26釐米x 32釐米

Revelation at Jinfo Shan, Ink and gouache on paper, 26cm x 32cm

▲《 水和波浪 》,紙上水粉、墨水,32釐米x 28釐米

The Water and The Wave, Ink and gouache on paper, 32cm x 28cm

 ▲ 3D打印,塑膠粘土,尺寸可變

3D prints, Plastic clay prints, dimensions variable

▲《 在青銀閣休息 》,紙上水粉、線,31釐米x 35釐米

Resting at Qingyin Pavilion, Gouache and thread on paper, 31cm x 35cm

▲《 春陽宮之旅 》,紙上水粉、線,31釐米x 35釐米

Journey to Chunyang Palace, Gouache and thread on paper, 31cm x 35cm

▲《 走向神秘的中峯 》,紙上水粉、線,31釐米x 35釐米

The Walk to Mysterious Zhongfeng, Gouache and thread on paper, 31cm x 35cm

▲《 前往萬年寺 》,紙上水粉、線,31釐米x 35釐米

Heading Out to Wannian Temple, Gouache and thread on paper, 31cm x 35cm

▲《 黑山穀的紅色岩石 》,布面水粉、線,直徑20釐米

Red Rocks at Black Mountain Valley, Gouache and thread on canvas, 20cm in diameter

▲ 《 黑山穀的白雲》,布面水粉、油彩和線,直徑20釐米

White Clouds at Black Mountain Valley, Gouache, oil and thread on canvas, 20cm in diameter

▲《 黑山穀的橙色天空 》,布面油彩、水粉、線,直徑20釐米

Orange Sky at Black Valley Mountain, Gouache, oil and thread on canvas, 20cm in diameter

▲ 《 真實物體,隱藏物品(ii)》,絲綢與紙面墨水、丙烯,61釐米x 164釐米

Real Object, Hidden Object (ii), Ink and acrylic on paper and silk, 61cm x 164cm

▲ 《 真實物體,隱藏物品(i)》,絲綢與紙面墨水、丙烯,61釐米x 164釐米

Real Object, Hidden Object (i), Ink and acrylic on paper and silk, 61cm x 164cm

▲ 《 四面山珍珠湖 》,布面水粉、丙烯,160釐米x 120釐米

Pearl Lake at Simian Shan, Gouache and acrylic on canvas, 160cm x 120cm

▲ 《 金佛山的金色光芒 》,布面油彩、水粉,直徑20釐米

Golden Light at Jinfo Shan, Gouache and oil on canvas, 20cm in diameter

▲ 《 四面山的光線 》,布面水粉、丙烯,240釐米x 120釐米

Light at Simian Shan, Gouache and acrylic on canvas, 240cm x 120cm

▲ 《 速寫本,鈴鐺和冰爪 》,尺寸和材料可變 

Sketchbooks, bells and crampons, dimensions and materials variable

▲ 《 奇與正 》,紙面墨水,40釐米x 52釐米

Qi and Zheng, Ink on paper, 40cm x 52cm

了解更多,請點擊展覽海報 ↓

郵箱 : info@chongqingdac.org


Facebook : 重慶市十方藝術中心


Website : chongqingdac.org

Email : info@chongqingdac.org

Wechat : CNCQDAC

Facebook : Chongqing Dimensions Art Centre & Chongqing Artists In Residency

Address : Huangjueping GuanJiaLin 190, Jiulongpo, Chongqing, CN.