In an era marked by complexity, many feel a "DIVISION" of identity and belief. Artist Y-Hatcher, through a medley of mediums including installations, videos, photography, and sculpture, delves into this topic from various perspectives. He invites the audience into a perceptual space to directly confront the nuanced relationships between individuals and the world, as well as the intrinsic alienation. Y-Hatcher's exhibition "DIVISION" showcases 7 pieces that traverse themes from the relationship between individuals and society, to that with nature, and even to the artist's own personal identity. It not only unveils the complexities of the era but also portrays a journey of self-discovery amidst diverse contexts. The exhibition is an exploration of how to re-establish genuine connections with nature, the universe, and oneself, aiming to transcend this "DIVISION".
分裂非隔断，而是连接的起点。每一次的质疑，每一次的思考，都如同浓雾中的灯塔，引导我走向未知的彼岸，但难免于碎片中迷失。我享受漂浮其中的自在，但也试图在这片海洋中寻找一个稳定的锚地，每一处已知仍存在无数的未知。这是一个永恒之旅，分裂则是我沿途的经地，如同日夜之交的行者，走在明暗之间，寻找着平衡。 我渴望如同曙光般的启示使我从无尽的分裂觉醒，坚信着期望的裂变终会出现。 Division is not an end, but rather the genesis of connection. Each interrogation, each pondering, acts as a lighthouse within a dense mist, guiding me towards uncharted shores, albeit often getting lost amidst the fragments. I revel in the liberation of drifting within, yet concurrently seek a stable anchorage in this vast expanse. Every known aspect conceals myriad unknowns. It's an eternal odyssey, with fragmentation being a pivotal waypoint. Like a traveler at the cusp of day and night, I tread the liminal space between light and shadow, in search of equilibrium. I yearn for a revelation like the dawn, to awaken me from endless DIVISION. I firmly believe that the desired FISSION will eventually occur.
In this era of information explosion, people are constantly bombarded with relentless stream of fragmented and isolated pieces of information through fast-paced audiovisual experiences. This wave of information inundates our lives, and people have grown accustomed to rapidly consuming vast amounts of it, much like the purification of nutrients in food. We mindlessly absorb it all, gradually becoming numb. Before they realize it, people have become ensnared, aimlessly floating in the turbulent river of information, allowing their perception to be dulled. In moments of distraction, they get swept away into endless abysses and lose their way gradually.
Every piece of wood is a poem of the era and nature, holding memories of the passing years and ancient tales. They once grew beneath the verdant canopy of the earth and were later hidden deep in water by time. Though dormant, their pulse of life never ceased. The rusted steel bars and wires, much like the hands of a craftsman, breathe a new vitality into this slumbering wood. Yet this intervention signifies mankind's reshaping of history, an intertwining of tradition and the present.It's more than just a connection; it's an entanglement. The submerged wood is forcibly molded, reminiscent of a bound dragon. Despite the friction and struggle, its ancient soul remains powerful and dignified. Nature, ever mighty and enigmatic, continues to thrive even when altered or constrained. Amidst change, it engages in a tacit conversation with humans, silently professing an eternal love.
The body, a bridge for humans to communicate with the world, is seen as a sanctuary for the soul. "Body Imprint" interprets the body from a fresh perspective, not just as a biological structure, but as a symbol of life, existence, pain, and transcendence. Each surgery carves a new chapter in the narrative of life. The iron surgical tools in the series leave more than just marks on the skin; each imprint signifies a silent dialogue between life and death, symbolizes the struggle between man and nature, stands as a beacon of existentialism, and quests for the meaning of life. The textures on the skin subtly narrate the close relationship between time and existence, bearing the eternal imprints of life. These scars and traces serve as maps of life, each bearing its unique story, acting as a bridge connecting the material to the soul, and representing the melding of the finite with the infinite.
Within the embrace of nature, all elements undergo a silent metamorphosis, transitioning from being to nothingness, from ephemeral moments to eternity.Raindrops and diamonds, poles apart in the spectrum of existence, both bear witness to the transformation from tangibility to intangibility. Within the confines of our fleeting existence, we are perpetually in search of purpose. Yet, perhaps akin to raindrops and diamonds, the essence of our lives isn't anchored in its duration but in the radiant moments of its being — those ephemeral dialogues with time.It's the presence of the void that renders existence so invaluable. One must remember, whether light or darkness, presence or absence, all are gracious endowments from nature.
The advancement of technology is challenging the traditional centralized surveillance paradigm. Social media has intensified our enthusiasm for sharing our lives, and various surveillance means are now widely known. The line between public and private has blurred, with surveillance no longer just a means of control, but a way of life. We're not just the observed; we've subtly become observers through social media. In this age of watching and being watched, people have complex attitudes towards surveillance, both wary and indifferent. This duality reveals the contradictions of human nature. As everyone is under each other's gaze, we are both spectators and the spectacle. This installation employs six TVs and phones as surveillance tools, creating a labyrinth where audiences watch each other. It prompts one to reflect: as you question "Whose eyes are those?", have you considered how you appear in others' eyes?
The ocean deeply draws us in, as if calling humanity back to its origins. We once slumbered in amniotic fluid, a liquid that bears a resemblance to seawater, suggesting an intimate link between the origins of humans and the sea. Deep within us exists a "death drive", an impulse to disrupt order and return to the source of life. Perhaps this is the ocean's call to us. Fear and fearlessness, familiarity and strangeness, infinity and powerlessness, freedom and constraint, life and death - all resonate with the innate human drives of "Life Instinct (Eros)" and "Death Instinct (Thanatos)". In the face of the ocean, we harbor an eternal tapestry of complex and contradictory emotions. Maybe humans began in the sea and will return to it, drifting with the waves, flowing against the current, journeying back to the ocean.Perhaps, human beings originated and will end in the sea. Why not drift with the waves, to be thalassic regressive undertow？
Yu Haocheng（Y-Hatcher）, from Shenyang, Liaoning Province, was born in 1998, studied at the Academy of Arts & Design of Tsinghua University from 2017 to 2021, majoring in Photography within the Department of Information Art. He earned his bachelor's degree and now resides in Beijing. His artistic explorations range widely, touching upon topics from humanity and society to nature and the cosmos. His works have been exhibited in places such as Beijing, Xiamen, Hangzhou, Zhengzhou, Lishui, London, Milan, Athens.
Unbound by any medium, Y-Hatcher employs installations, videos, photography, sculpture, and sound, guiding viewers through the Leap of Sensory Experience, inviting profound introspection and self-discovery. He advocates for a return to the essence of humanity, delving into the deep-seated ways of thinking and communication between people and the world.
展览经历 PAST EXHIBITIONS：
2020年 北京 清华大学美术学院 “非器” 艺术展
2021年 丽水 万象摄影坊 “2021丽水摄影节”
2022年 杭州 仓美术馆 野生青年艺术节 •杭州站
2022年 厦门 三影堂摄影艺术中心 “无界”艺术展
2022年 厦门 鼓浪屿美院 “岛屿重回计划”
2022年雅典 第18届雅典数字艺术节（ADAF）中国单元
“Looking Back to the Present”
2022年 北京 木木美术馆 野生青年艺术节 •北京站
2022年 北京 凹凸当代艺术空间 BXQ2022实验影像周
2022年 伦敦 MP Birla Millenium Gallery “超临界态”艺术展
2023年 米兰 HOAA. “Encounter” 艺术展
凹凸当代艺术空间 Aotu Space
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