— 

Where The Wind Blows

2023.4.15 - 2023.5.28

Opening Time: Wed - Fri 12:00-18:00, Sat - Sun 10:30-17:30, Mon and Tue close.

Please make an appointment before visit. Please refer to more information below.

— 

文/孔慧东

I didn't base my concept of painting on those words that are too large. Compared with those that are too macroscopic, for me, painting is parallel to life and can be interpreted as another way of life. I pay more attention to my own life experience and psychological and emotional changes. Most of the paintings are based on the events or feelings in the timeline of my own life, which can be said to be a view of creation with diary attributes. They are narrative, but in the process of creating each painting, I will constantly try to reduce those superficial narrative clues, subtract the basic logic of real life, remove the recognition of personal identity, create false space and add unconscious elements, and make the picture away from what I want to say. The recorded events are getting farther and farther away and more and more metaphorical. But what is hidden in this true-false space is the most real events and memories for me.

Like to draw past events may be for the sake of breaking a memory or subtracting the weight of that memory in life. But recently, I suddenly realised that the so-called happy painting of the past is more than the present, perhaps because I think that only when the present really becomes the past, the problems and influence left by the past event or its memory of the characters will slowly emerge. When you try to reproduce the past through the picture again, the past becomes a new present. And the current experience and state will also affect the past picture you present. The present will become the past, and the past will remain until the present. The past can carry the present, and the present can also change the past to some extent. Just like in the Middle Ages, many works of art with strong narrative about biblical stories or exquisite handicrafts with the function of spreading religion will appear in parallel or the same picture at the same time in the past, present and future. The only purpose is to narrate concisely and intuitively. What I want to do is to blur the so-called time and place characters in a picture, and indirectly create some pictures that make people guess. Maybe it is not about the specific memories of the past, but about the mixture of the past, the present and the future.

In fact, I have never thought specifically about the image of the eyes in the painting. Previously, this was just a symbol for me that was repeatedly put down and picked up, and it was also an intuitive emotional expression - anxiety, tension, daydreaming, mental tension - but in fact it was not so important. The first appearance of these eyes was also inadvertently flashed in a certain atmospheric magnetic field, a mental state. But now it seems that after the accumulation of time, in so many pictures, it must carry some more important things, not specific, but the traces of self-development that it has as a designated part of the picture. In some way, I'm not the owner of my work, at least not exactly, because I can't fully control what will appear in this picture. Many of them are random and subconscious flashes, but I believe that there must be a spiritual guidance behind this kind of randomness. As an independent human individual, I will constantly change and become. I think my work itself will also be. The two are mutually gravitational but parallel tracks, just like the eyes, the eyes of the characters in the picture, my own eyes, and the eyes of every viewer who is watching them.