XINYU LONG
In this section, I will share three analytical contexts that have been significant to the development of my creative practice and specific research. Including a piece of journal from the reading group, an exhibition, and an oil painting that impress me.
Hito Steyerl's The Wretched of the Screen ---- In Free Fall: A Thought Experiment on Vertical Perspective
I chose two quotes from this article as a reflection and to relate how the theme of the article made a connection to my research as below:
"Additionally, as Erwin Panofsky（1892-1968） argued, that the construction of linear perspective declares the view of a one-eyed and immobile spectator as a norm—and this view is itself assumed to be natural, scientific, and objective."
"Needless to say, this reinvention of the subject, time, and space was an additional tool kit for enabling Western dominance, and the dominance of its concepts—as well as for redefining standards of representation, time, and space."（Hito Steyerl， 1966）
Hans Vredeman De Vries, Perspective 39 , 1605, copperplate engraving.
I think these opinions from the whole words focus on linear perspective and the definition of the role of the viewer. Politically, linear perspective was used to reinforce western dominance and provide lawfulness for conquest and domination. In culture and art aspect, I think it is used to redefine the criteria of representation, time , and space, while the role of the viewer reflections power structures and identities. Apart from that, I also realized some deep truths about feminism potentially from this article. In a feminist context, I think the viewer's role maybe limited and influenced, so linear perspective maybe used to consolidate male-dominated opinion and power structure.
In fact, these points from this article do have some relation to my usual research direction during Unit 2, like how to define females identity. For example, for some character settings and regulations of female, people always use feminine rather than masculine characteristics to describe women in the public consciousness. Just like the linear perspective gives some decisiveness about the straight line, while the curve of the earth is ignored.
In my opinion, it's not that this linear perspective is all negative, it's just that it can be seen as an example of stereotype making. And there are countless events in history where stereotypes about women have been made, from the witch trials of the Middle Ages to the housewives of the old world who were seen as the best roles for women in their time, these tools of using laws and social norms to rationalize them not only place limitations on women's human rights, but also present a barrier in the way of gender equality in society.
Therefore, in my works, I often show an uneasy and unknown mood, firstly, it is also a challenge to the traditional images and exploration of the senses. Secondly, my works also focus on women's identity, breaking away from the traditional image of femininity and aiming to eliminate the stereotypical images and styles that have been passed down to us from time to time.
My reading notes
Exhibition：Sarah Lucas —— Happy Gas
In this exhibition, a banana, bulbs, concrete, fish, a car, tights, chairs, tabloid newspapers and cigarettes are used to explore the human condition. It is easy to see that Lucas challenged the conventions of photography, sculpture and collage through her choice of subjects and materials. But what’s even more interesting is that when I walked into this exhibition hall, I felt a hint of absurdity and irony. She creates a mood of grit, shock and play, regularly punctuated by the darkness and pleasure of sex, smoking and food.
Lucas's subversion of social realism points to what is both laughable and demeaning about class and gender stereotypes, and mischievously and honestly, Lucas asks universal questions about our origins, sex, class, happiness and mortality. I can see some images are presented as wallpapers that consume whole gallery spaces, by continuously presenting her own image alongside these objects and motifs, Lucas creates a unique visual language which she uses to challenge stereotypical notions of identity and gender.
I think the works in this exhibition have provided some inspiration for my creative direction, which is reflected in the mood of the images. It is easy to see how Lucas often uses critical humor in her work to question conventions and highlight the absurdity of everyday life, something that is often subversive with non-everyday emotions and sensations. In my practice, I also try to bring some seemingly unsettling and unknown emotions into my works, and also try to construct some roles and new human identities that renege on the traditional female role and new human status from my point of view, with the aim of blurring the pre-existing consciousness in a sense, just like Lucas.
In addition to this, she has also influenced my creative attitude, It allows me to do whatever comes to mind in the moment，and I like her quote from the leaflet for this exhibition----
'We all might find ourselves subject to a whole gamut of emotions. The stuff of tragedy and comedy. Of daily grind and boredom. Of living. And I do find myself subject to these things like everybody else and often I feel a tremendous urge to do something with that feeling right away with whatever there is about, even if at first glance it looks like there's nothing very promising about. There always is something. ’(Sarah Lucas, 1962)
Kolja Kärtner Sainz
Kolja Kärtner Sainz (b.1998) is a German painter based in Leipzig and currently pursuing his Fine Art degree at the Academy of Fine Arts Leipzig. In his work, Kolja Kärtner Sainz seeks an ideal intermediate state where representation and abstraction can coexist. Deeply exploring this intersection he tries to freely interpret states of nature and the artificial and not to capture rigid moments, but rather blurs, movements and changes in perception. Working with oil and ink in many layers, his paintings appear to render the conflicting forces of abstraction and figuration intertwined in futuristic states of never ending change. I really like the composition and arrangement of objects in his abstract paintings. These elements interact with each other to create a visual "sense of movement". His works may create a profound visual tension through local density and distant blankness, forming a sense of "advance" or "retreat". For example, the contrast and collision of different elements in the picture can give people a sense of flow, as if the shapes and colors in the picture are transmitting power and energy to each other. I think the sense of flow is also closely related to rhythm. In some abstract paintings, the repetition or interval of elements in the picture can form a sense of rhythm, which is often connected to time. It can be slow or rapid, just like the melody in music. Abstract artists may simulate the flow of rhythm through the repetition, change or rotation of shapes, and this repetition itself is a manifestation of movement.
Reference
Erwin, P., 1892. The Wretched of the Screen. 3rd ed. Germany: Sternberg Press. [Accessed 16 April 2024].
Hito, S., 1966. The Wretched of the Screen. Germany: Sternberg Press. [Accessed 16 April 2024].
Sarah L., 1962. Exhibition Leaflet. London: Tate Britain [Accessed 5 January 2024].