{"id":3784,"date":"2021-06-26T23:44:09","date_gmt":"2021-06-26T15:44:09","guid":{"rendered":"http:\/\/chongqingdac.org\/?p=3784"},"modified":"2021-11-22T23:44:47","modified_gmt":"2021-11-22T15:44:47","slug":"%e5%8d%81%e6%96%b9%e9%a7%90%e7%95%99-%e3%80%8a%e8%9c%83%e7%8d%a8%e3%80%8b%e8%97%9d%e8%a1%93%e5%ae%b6%e5%91%82%e6%98%b6%e5%80%8b%e5%b1%95","status":"publish","type":"post","link":"http:\/\/chongqingdac.org\/?p=3784","title":{"rendered":"\u5341\u65b9\u99d0\u7559 | \u300a\u8703\u7368\u300b\u85dd\u8853\u5bb6\u5442\u6636\u500b\u5c55"},"content":{"rendered":"
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\u200b\u6eab\u99a8\u63d0\u793a<\/strong><\/section>\n
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\u25a0<\/strong>\u00a0<\/strong>\u25a0<\/strong>\u00a0<\/strong>\u7b56\u5c55\u4eba\u524d\u8a00<\/strong>\u25a0<\/strong>\u00a0<\/strong>\u25a0<\/strong><\/p>\n

Curator’s Foreword<\/strong><\/p>\n

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\u2014\u2014\u4f55\u4eac<\/p>\n

\u25a0<\/strong>\u00a0<\/strong>\u25a0<\/strong>\u00a0<\/strong>\u85dd\u8853\u5bb6\u81ea\u8ff0<\/strong>\u00a0<\/strong>\u25a0<\/strong>\u00a0<\/strong>\u25a0<\/strong><\/p>\n

Text by the Artist<\/strong><\/p>\n

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\u2014\u2014\u5442\u6636<\/p>\n

I am trying to translate ancient Chinese language, this is my understanding of this commend written by Kuo Shen in Song Dynasty. He said, \u2018You should first find a broken wall, finish laying a piece of white silk, hang the white silk on the broken wall, and watch it sooner or later. It’s been a while since I watched it, and I saw the wall across the white cloth. Observe carefully: the high is the mountain, the low is the water; the ridge is the valley, and the lack is the mountain stream; the obvious is the near view, and the fuzzy is the distant view. Suddenly you will understand and clearly see the sight of people, birds, and trees flying around.\u2019<\/p>\n

The mirage, the light reflected on the city on the sea or the sky, mirage, “Historical Records \u2022 Book of the Heaven”:\u00a0 \u201cA meteorological tower on the seaside; a vast and wild gas into a palace—called mirage.\u201d<\/p>\n

I have always had an inexplicable affection for fictions and famtasy, just like opening another door to a parallel world, whether it is the various monsters in the night of the Hundred Ghosts or the fairy in the Luoshen Fu, as if floating in an illusion, just like Liao Zhai-what is said in the painting wall, a young man stayed overnight in an ancient temple. The Bodhisattva’s eyebrows were drooping, and he suddenly fell into a fairyland. The goddess scattered flowers and made thousands of illusions. The world is originally an illusion or an illusion is based on the mind, all appearances are vain, and all active methods are like dream bubbles.<\/p>\n

I’m always used to walking alone in the dark. The black at night is a colorful color, which is gorgeous like a kaleidoscope. During the day, it is comfortable for being awake or dreaming. I have been living in my own fanstasy world. I have thought for a long time and I didn\u2019t know what I wanted to say, what I wanted to paint, and what I wanted to do. In fact, being confused may be my truest state. It doesn\u2019t matter. Others, just mutter. Muttering to myself~<\/p>\n

In the daily creation process, I think the contingency of the project is a kind of surprise. Therefore, the work may not be completed and in a state of progress, and there are often many fragmented contradictions and confusions. I don’t think there is any specific creation. In the project, I only showed the state of the experiment in the last few months, the period of my life. In the process, under constant trial and error, trying to update my understanding of art and life, so that art and life are in a state of integration. The romance of life lies in uncertainty, and the unknown has a unique sense of beauty.<\/p>\n

In the end, the accidental, random, and collage form of the exhibition seems to have taken away this special time and solidified in the work.<\/p>\n

\u25a0\u00a0\u25a0\u00a0\u85dd\u8853\u5bb6\u4ecb\u7d39\u00a0\u25a0\u00a0\u25a0\u00a0<\/strong><\/p>\n

Introduction to the Artist<\/strong><\/p>\n

<\/strong><\/p>\n

\u6559\u80b2\u80cc\u666f\ufe31<\/strong>Educational Background<\/strong><\/section>\n
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2020\u5e74\u7562\u696d\u65bc\u56db\u5ddd\u7f8e\u8853\u5b78\u9662\u7372\u5b78\u58eb\u5b78\u4f4d<\/section>\n
2020-2021\u82f1\u570b\u7687\u5bb6\u85dd\u8853\u5b78\u9662-\u85dd\u8853\u8207\u4eba\u6587\u7814\u7a76\u751f\u5728\u8b80<\/section>\n
Graduated from Sichuan Academy of Fine Arts with a BA degree in 2020<\/section>\n
2020-2021 Royal College of Art-Graduate Students of MRes—Fine Art and Humanities<\/section>\n
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\u95dc\u65bc\u672c\u6b21\u99d0\u7559\ufe31<\/strong>Aboutthis Residency<\/strong><\/section>\n
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\u611f\u89ba\u662f\u7d93\u9a57\u7684\u4e00\u90e8\u5206\uff0c\u4e5f\u662f\u69cb\u6210\u6982\u5ff5\u7684\u4e00\u90e8\u5206\u3002\u4f46\u662f\uff0c\u5c07\u611f\u5b98\u8207\u611f\u89ba\u5206\u958b\u7684\u662f\u88ab\u6574\u5408\u5230\u611f\u5b98\u4e2d\u7684\u7a31\u70ba\u60c5\u611f\u7684\u5143\u7d20\u3002\u5916\u90e8\u4e16\u754c\u70ba\u5f15\u5c0e\u60c5\u611f\u7684\u611f\u89ba\u548c\u601d\u8003\u63d0\u4f9b\u4e86\u74b0\u5883\u3002<\/section>\n
\u300c\u5be6\u969b\u4e0a\uff0c\u6240\u6709\u7684\u611f\u89ba\u5df2\u7d93\u662f\u8a18\u61b6\u3002\u300d\u4ea8\u5229\u00b7\u4f2f\u683c\u68ee\uff08Henri Bergson\uff09\u6b63\u5982\u798f\u67ef\u6240\u8aaa\uff0c\u8eab\u9ad4\u662f\u4e2d\u5fc3\u5c0d\u8c61\u3002\u7531\u5305\u62ec\u8996\u89ba\u4f5c\u70ba\u89c0\u770b\u7684\u4e3b\u8981\u8996\u89d2\u7684\u611f\u5b98\u5f15\u8d77\u7684\u5c0d\u7269\u7406\u4e16\u754c\u7684\u5f15\u7528\u5275\u9020\u4e86\u4e00\u689d\u5f9e\u6f5b\u610f\u8b58\u5230\u8a18\u61b6\u7684\u8def\u5f91\u3002<\/section>\n
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My Residency Plan is based on my research interest. I am curious about the sensory experiences which associated with bodies and memory. The reality via collaborations of senses are strengthened by environmental interaction. Paying attention to space which means intentional living center through bodies to construct embodied experience. Otherwise, paying attention to ourselves with our multi-sensory to transfer the way of feeling. How do we bring ourselves from inside to outside or vice versa?<\/section>\n
Sensation is a part of experience, as well as perception and conception. However, what distinguishes the senses from them is the element called emotions which are integrated into senses. The external world provided the environment for feeling and thinking to direct the emotion. \u00a0As Paul Ricoeur pointed, Feeling is kind of without doubt intentional: it is feeling of something-The lovable, the hateful (for instance). An intention can be felt as an affection to weave the emotions into experience.<\/section>\n
\u00a0\u201cIn truth, all sensation is already memory.\u201d Henri Bergson.As Foucault mentioned, Body is the central object.<\/section>\n
The reference of the physical world caused by senses including vision as the main perspective of viewing create a path through the subconscious to the memory.<\/section>\n
In summary, I would like to establish the methodology via practice and explore my research questions via working through various medias and materials.<\/section>\n
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\u4ee5\u5f80\u4f5c\u54c1\u4ecb\u7d39\ufe31<\/strong>Introduction to Previous Works<\/strong><\/section>\n
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During my four years as an undergraduate student of Synthetic Arts at Sichuan Fine Arts Institute I have been exposed to creative methods from both western and Chinese traditions. This straddling of cultures and the notions of traditional and contemporary they embody continues to enrich my contextual understanding of art practice.\u00a0<\/section>\n
This rich contextual understanding has made me increasingly curious about the overlaps between art, literature and philosophy. I read broadly and seek to work across and between disciplines.Painting continues to drive my practice but I wish to challenge and extend my relationship to painting through innovation, experimentation and collaboration. I have worked with a curator whose interest in place and space situated a series of my paintings at locations around the campus. This re-contextualisation of my work made me re-consider the ways in which my paintings can be encountered with time and space via various methods.<\/section>\n
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<\u00a0illusion, 2021\u00a0><\/section>\n
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<\u00a0Day Dream, SanMei Gallery, 2020 ><\/section>\n
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<\u00a0Skin\u00a0\u00a02019\u00a0><\/section>\n
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<\u00a0Place \u00a02019 ><\/section>\n
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