BLANKgallery｜Exhibition View and Interview
Exhibition view
Q：Why do you love the concept of deconstruction and dismantling?
A：This way is more in tune with what I am expressing, andit also creates some concrete content of abstract concepts. When I need to understand something or a concept more deeply, I need to break it down, so that in turn we can re-organize or adapt a whole new direction, and a whole new shape will emerge. Just as when human-being discovers an element, from the life of us, the total environment of existence and the spiritual realm all change dramatically with the application of the discovered element. As time goes by, the conceptual awareness of the group changes as well, and my work is mostly about the subdivision of such individuals, so the current expression of my work is more in line with the conceptual output. I'm not keen on certain forms or methods, they are just tools that anyone can take and use.
Parallel Rains，2021，Acrylic on canvas，540 × 240cm
Q：The state of movement and the relatively closed background give the image a wonderfully dislocated psychological space.
A：Because there is no specific orientation in the content of my work, the position in the space of each may not be accurate compared to reality, and there is no certain concept of perspective. However, in order to present a perspective, some spatial dislocations are arranged to create a sense of visual "establishment". Because painting is a kind of visual presentation on a two- dimensional surface, it is necessary to organize the relevant abstract concepts from the images into one visual field, so that the perspective is adjusted, offering a sense of dislocation to the work.
Lean，2022，Acrylic on canvas，180 × 240cm
Q：Your work is reminiscent of a cyber aesthetic based between prosthetics, external organs and digital mixtures, how do you see this aesthetic impacting on humanity?
A：I think that contemporary art is confronting the sense of the times reflected in our time. I may not have paid attention to the content of the questions you mentioned above, but it is reflected in my works, which may in a way map part of the aesthetic concept of this era. As for the influence of the aesthetics of this era on human beings, this issue, like many issues in human society, is only a point of constant displacement. In the present, it does not have any far-reaching influence, but rather it is a timeline in which all aspects of human society are involved in the process of advancement, with changes and interactions taking place all the time. It is generally better to comment on contemporary ideas of aesthetics that have settled in the past, after all, the people involved are dead and history is set in stone, and the contemporary look at the contemporary generally doesn't give a damn about anyone. It's more a matter of shared creativity and individual ideas! The aesthetics that eventually settles down in each era will add a creative or referential dimension to the history of mankind and to future generations moving forward or backward!
Green Girl，2022，Acrylic on canvas，160 × 120cm
Q：Why this change from the early images, which tended to be compositional, to the recent works, which present a construction of mixed and complex elements?
A：The forms of expression are just tools on my side, and the corresponding forms of expression will emerge whichever fits my output concept better. If I was describing some single-celled organisms before, now I am almost trying to shape the organic form of a complete concept.
An Uppercut，2021，Acrylic on canvas，150 × 200cm
Q：How do you see the concept of 'progress'? What does this concept mean in painting?
A：I think that in a way 'progress' may not exist, but extinction is happening all the time! The moment the sperm rushes into the egg and unites with it, extinction begins. So there is essentially no "progress" in my painting.
Q：What do you think about the way in which the organic organism in the work always appears as a 'person' or a part of the 'human body'? What does it mean to you?
A：Because I have faced myself head-on, one thing that cannot be denied is that I perceive the world from a human perspective, which is the starting point for everything. One could say that this is a limitation, it is the same concept as death.
The End is the Beginning, the Beginning is the End，2022，Acrylic on canvas，180 × 200cm
Q：In your paintings as a whole, most of the subjects depicted are "living" subjects, is "organic" or "living" a more important concern for your work? Are you interested in "inorganic objects”?
A：I think that life itself appears as a "confrontation" in fact, like a "game" of higher intelligence, the existence of organic life is like a mistake in the known universe of mankind, fighting against extinction, reborn and extinguished in extinction. It seems to imply something, to be waiting or searching for something! Such a thing is shocking enough in itself, not to mention that we are one of them. As for the inorganic matter, it is essentially just material, a form of energy that assists organic matter in surviving or killing the former, but of course, most of the time they can assist us in conveying a lot of information and can be given the appropriate message, as most of them exist for a longer period of time.
EXHIBITION VIEW
ABOUT ARTIST
Wang Chaoqun (b.1989)
Born in Inner Mongolia
Studied at the St. Petersburg Academy of Arts and The Surikov Art Institute In Moscow, currently lives in Shanghai
Recent Solo Exhibitions
2021, Uncomprehended might be a Sense of Humor, Universe Gallery, Hangzhou
2021, I have never been afraid of your being bored, BLANKgallery, Shanghai
PREVIOUS EXHIBITIONS