Bridging the Unbridgeable
My work is much about places, about the ways through which one could relate to, move through and comprehend the spatial aspect of our very travelable and seemingly smaller world. The travelability and mobility of our time intensifies the contact, exchange and comparison between drastically different places and human conditions. As an artist, I am at the same time puzzled and intrigued by such a phenomenon. Through my work, I explore various ways to arrange and juxtapose different abstract visual elements, imageries of places and landscapes against one another. Through such a play, I am interested in exploring the gap between forms and, through reversing something certain, to reach an open form that is rich in potentiality.
The two bodies of my work, one in the form of wall-mounted sculptural installation and the other in the form of landscape painting, reflect two ways through which I construct spatiality.
My site-specific sculptural installation is a exaggerated variation from the Go/Weiqi board game. The game, said to be in the beginning derived from early human observation of the movement of celestial bodies, is about the positioning of the opposing black and white stones on a rectangular gridded board as an abstract representation of the sky. For my installation, I unfold and spread the grid onto the wall using colored tapes, and place a number of my painted ceramic sculptures at key positions that in my eyes harvest the most interesting spatial potential. Sometimes I also push my Go - installation further and then improvise, over the time span of a few days, a s
ite-specific mural landscape drawing overlaying the existing spatial relations between the sculptures, the lines and the room space.
I gain another kind of freedom in exploring the notion of spatiality and placeness through painting landscape or Shanshui— a transliteration for word “landscape” in Chinese which literally means (the correlation and polarity between) “mountain and water”.
The landscape in my painting are often an imagined place combined smoothly together from a multiple of independent scenes. The actual forms in my painting, let it be the hill, the rock or an open plain, are my condensed expression of the specific abstract relations between things, rather than reference to specific places and locations. In my paintings, I am interested in finding each time a different solution to bridge the unbridgeable spaces, to create a travelable channel between the places without compromising their own different spatial conditionings and orientations.