Works

Somewhere Only We Know

                                                               May 2020

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With part of the structure plays a significant role in my memory to remind me a period of my previous life, Somewhere Only We Know is an emotional work as well as an experiment for exploring art form and a kind of visual system.
To express the credibility of God's creation and the admirable expression of the European humanist spirit, Western paintings strive for the authenticity of things. Therefore, in the method of observing things, the focus perspective method was developed accordingly. In the image of the focus perspective, because of the clear directionality of the lines, people's eyes will be undoubtedly attracted by the focus. In this work, I chose an open highland to take a focus perspective photo. Because there are few natural reference objects in the photo, the artificial frame will be very conspicuous.
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The Last Supper

By Da Vinci Leonardo

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Man Drawing Reclining Woman

By Durer

I printed out the picture. The frame in the picture was as large as the actual frame. As you can see, the frame in the picture was incomplete. When an equal-sized frame was placed in front of the printed picture, people had the subconscious of perfect the incomplete image. This inspired viewers to try to find the most suitable angle to make the two frames overlap. At the same time, I intentionally set this to be a floor-based display and the photos were also posted at a height not far from the ground. In this way, it was very obvious to observe that to find the perfect angle of the frame in the picture, the viewer would squat down to watch consciously. This work was also a conscious manipulation of people's inner subconsciousness. At this time, the blurred image in the center of the frame in the picture has been multi-gazed (by the photographer and the spectator).

The action of shooting itself means a gaze. Just like Jonh Berger said in Way of Seeing, "Every image embodies a way of seeing. Even a photograph. For photographs are not, as is often assumed, a mechanical record. Every time we look at a photograph, we are aware, however slightly, of the photographer selecting that sight from an infinity of other possible sights. "In this work, I use Photoshop to process the pictures. Using a physical way to make people's eyes cannot focus on the picture. When people gazing at an image that was in a focus position but was out of focus, the expectation in One Point Perspective was struck, which makes it impossible to be concentrated on.

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Focus

Jan 2020

In this work, I think about the act of "gaze" through a series of conceptual transformations and observations of the audience. And study how the subjective behavior of "gaze" is affected by objective factors.
Vieiwing an apple with an apple in an ap

I got inspiration when I was gazing a picture in my iphone accidentally one day. I was doubting what I was gazing, the hand with an apple, the picture with hands or even my hands with a picture at that moment?  I found it might be interesting to discuss "gaze".

Viewing an apple with an apple in an apple

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Fission

Feb  2020

 

Fission was my first experiment of "limit spectators’ perspectives to lead them to get my ways of seeing". I painted the sculpture and repainted it into abstract paintings. The paintings are only composed by simply geometries and lines. In each painting, the black part of the sculpture are hidden in the black backgrounds. Spectators can play with different perspectives to find correlations between the sculpture and the paintings.

Before making Fission, I visit Dora Maurer's solo show. The final room, "Form Gymnastics", shows recent works by Maurer from 2007 to 2016 is brilliant. In Form Gymnastics I was attracted by her Overlapping painting. Her interest in sequence and rhythm are showed in coloured shapes, forms and even move off the gallery wall. To some extent Fission was influenced.

Fission was showed in a group exhibition 10 Degrees+ in 11-22 February

Fall,

Suspension,

Thorn

  November,2019

「坠落悬浮 

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Since I came to UK, I have been accompanied by frequent bouts of insomnia. Ialways felt confused about my lifestyle. It seems to be healthy and almost completely integrated into this place, but I still hardly get a good sleep.Anxieties are always easy to be magnified at night. To me, going to bed is more of a ceremony of suffering than a rest.

I believed the sleeping quality essentially accounts for the  relationship between a person and the place he or she lives. To me, a bed is no longer a carrier of my body but a carrier of thoughts.

I used this group of paintings to decontextualise the meaning of bed and describes my abstract state of my insomnia. 

In times of unwelcoming wakefulness, my mind wanders into unexplored territories. Because of the lack of realistic limitations, my thinking has become more active during the state of insomnia and light sleep. The idea of subconscious mind has played a greater role at those moments than my everyday life. This means that in a conscious yet sleep-deprived state, I am able to think creatively, and “outside of the box.” So I started to draw my inordinate thoughts freely during insomnia.

 

Since the last work "Thought", I have paid more attention on abstract painting and hard-edged painting. I felt great to make work with wood.

 

At the beginning, my project was more representational. I did not change until I came cross suprematism and saw more works of Kazimir Malevich.

 

His work gave me a strong connection to the feeling of "broken", "destroy" and "dissociate", which also similar to pieces of bed's components.

 

I wondered what would Malevich's paintings look if the colour lump came out of paintings? Then I started to compose my sketches, abstract paintings and wooden panels.

Charles Hinman became involved in changing the format of a painting from a mainstay rectilinear surface to other improbable shapes from 1964. In some ways, Hinman’s early painting  became a touchstone for artists who gradually began to focus their attention on the shaped  canvases. His works gave me a direct inspiration of let components get out of the right angle frame to expand painting.

Charles Hinman's three-dimensional shaped canvas(hard-edged) painting. 

https://charleshinman.com/

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The working process was very interesting. I deeply feel that the "simpler" the painting looks, the harder it is to organize. Wood should also be tried multiple times to reach a "balanced" state. 

In this work, I found the joy of transfering painting between 2D and 3D. This has given me a new direction in my future works.

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Suspension was showed in a group exhibition Emergency Art in December, 2019.

 

Through

October  2019

「 透 」

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Through was a work I made specifically for the Immurement show in Crypt Gallery.

"Immurement" is a form of imprisonment. As a motif in legends and folklore, many tales of immurement exist.

Cooperated with the history of the Crypt Gallery and the meaning of "Immurement" , I came up with an idea of making "windows" in the space. Window is given the meaning of the hope of living, the kindness of human nature, the probability of imagination and so on. 

I tried to use a geometric form to simplify these windows' appearance. So that my audience and have more space for their interpretations. When these virtual windows were attached to a real space, do they separate the space or connect the space? Since people started to walk around these frames, a conversation among history, space and people themselves has started.

The angle of hanging and the interworking between frames and spot lights were significant.  The shadows highlighted the geometric meaning, which acted on the work's visual effect directly.

I appreciate Robert Ryman and Sol LeWitt a lot.

Both of them played a critical role in Conceptual art and Minimalism. My work is a kind of  tribute to them.

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All content © Chuanzi(Kate) Huang 2020
2019-11-08 033839_edited