Nos influenciamos mutuamente. Pero algunas personas son más fuertes y erosionan los valores de otros.
We influence each other. But some people are stronger and erode the values of others.
The regular arrangement shapes an orderly illusion that human beings are in a set of system rules and thoroughly unaware of it. They restrain themselves in the repeatedly mechanical life. The canvases can be combined in two different ways, creating the picture in an unlimited extension or an infinite circulation. The image of pedestrians is repeatedly copied to imply the time flowing. As for the composition of the picture, the objects originally located in the distance minified with perspective now cover part of the foreground and blend with the objects located near, so that the far-reaching space is compressed into a scene which is similar to miniatures, and made the different levels of space co-located in the picture.
The children's huge heads are emphasized, laid separately and independently in the stone flowerpots. The objects above the heads suggest the state of brain’s activity. The pedestrians behind the flowerpots are analogous to reality contradict the bizarre objects in the foreground. Such a surreal picture implies an absurd situation: people are apathetic and regard the inexplicable rules around them as a matter of course.
This is one of my works inspired by fairytales, which are seemingly pleasant stories that serve as metaphors for the bitter-sweet realities.
Girls strengthen their friendships by exchanging or sharing secrets, by mutual-help in times of trouble, or by licking one another’s wounds. However, their occasional behind-the-back gossips prove they display intimacy and hurt one another at the same time.
In this project, the image of girls licking each other’s wounds overlaps with that of ice-cream sharing, which indicates an attempt to give friends favors while devouring them alive.
This is a project from my fairytale period.
The picture is structurally divided into three separate spaces. The Layer-One space is extended outside the picture to where the viewers are, and the trumpet-blowing girl guides the viewers toward the Layer-Two space. While the black-clad woman in the center holds a mask in one hand and tugs at her skirt with the other, two dolls are standing in line for a heart in the cage-like hoop, with the door behind that woman leading to an unknown space.
Each object and gesture in the picture has a hidden, symbolic meaning. While the mask suggests lies and insincerity, tugging at the skirt is a symbol of femininity and women’s required etiquette. The outfit is a hoop skirt that resembles a bird cage, which indicates how women commit self-torture in order to reach the ideal of beauty that has constrained them since history began, and how they use beauty as a means to seizing power. The dolls are dummies created as man’s body doubles as well as the widely perceived ideal image. As for the begging gesture and lies, or nudity and hoop, they reveal the rights-oriented relations and body politics in this painting.
In this painting, the indoor woods on artificially processed wooden flooring is a stark contrast to wild woods. The picture as a whole is enhanced with the perspective in an artificial space, as well as the spatial relations among tree trunks of varying thickness. It underscores how man is separated from Mother Nature and at the same time arrogantly attempts to get close to, or protect it.
The gigantic grasshopper juxtaposed with personified mannequins suggests how man is different from, while related to, the other forms of life.
Even though the dead trees hardly provide any decent shade, the room’s interior features an interplay of light and shadow that is possible only in the presence of lush foliage. That arrangement is a metaphor of how the future we believe in, or our imagined end of things, are always against the reality. In other words, mankind's ultimate pursuit is but an illusion.