On Paper.Supreme Nov 2018 Beijing: What the artists say

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The final exhibition for this years project opened Friday Nov 16th at the Beijing Creative Centre affiliated with Gwangju Art Museum in Songzhuang. Curator Chang Feng listed the previous cities of QIngDao, Shenyang and Ordos where the project had toured earlier in the year.

Museum director Park Woon Fai welcomed the visitors and guests. Sincere thanks to Jack Mc Cormack cultural attache for the Embassy of Ireland who also spoke as there are three Irish artists in this particular project this year. A huge thank you to curator Chang Feng ,  Park Woon Kai and also Mr Zhou for hosting the exhibition for the Beijing part of the project.

Participating artists include:

Aimee Lee,  Pyo Inbu,  Ryota Shiibashi, Fion Gunn, Kim Namo/Jin Nanwu, Li Hongbo, Maribel Portela,  Qin Jian,  Xin Song,  Wang Wei, Wu Liangyan, Yang Zhiling, Woonhak Chung, Audrey Mullins, Chen Yafeng, Jerry Lee, Ming Ke, Patrick Dewit, Quan Bao, Niamh Cunningham, Yumo Wu, Zhang Dan, Zhong Zhao

Here is a look at some of  the works and a few words from the artists

Yang Zhiling 扬志凌, 

what the artist says : 

The power of the soul is boundless like a flower bud unfurling into an expansive garden—like a drop of water morphing into an endless flowing spring. Wellbeing is a state of mind; as long as there is sunshine in the heart, no matter where one goes, one will find abundant happiness. I use light as a tool of perception and of painting. ‘To carry your own sunshine’ is a kind of natural optimism, clear and diaphanous, a mentality which is clean and fully occupied. Bringing your own sunshine is a kind of wisdom, a transcendence, which allows us to eclipse our despair in difficult circumstances; to sincerely and magnanimously enjoy the sunshine.

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Ryota Shiibashi,

what the artist says: 

I believe that life after death and before birth are of the same world and is somehow linked to this world at the same time. Nature allows for a more tangible experience to explore the space between Life and Death. When I make collage works from my mountain photography I imagine the creation of the earth in the pulverizing act of rocks crashing together over a long period of time.

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Fion Gunn 飞扬,

what the artist says : 

I am interested in the relationships between our most profound, most personal experiences and the macro narrative of history. Using a wide range of media I explore the movement of peoples, our multi-layered cultures and aesthetic connections. Art offers a valuable space where all perspectives, causes and effects, can be included and scrutinised.

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Xin Song宋昕, 

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Wu Liangyan吴梁焰, 

what the artist says : 

There is war in the kingdom of faith. Yet the kingdom of war has many faiths, the Heart Sutra, the Bible, and the Islamic Classic. I use the wisdom of the Three Classic faiths to create a contradictory community that includes the evils of a field war. For example the knowledge from the Bible can help us yet it can injure others, this otherness leads to the belief in justified violence and influences a cold and relentless war. I hope to use my works to express my hope for future world peace.

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Audrey Mullins, 

 Audrey Mullins, 

what the artist says : 

I like to think of my abstracted landscapes as visions of imagined planets where un-deciphered languages are scattered on weathered surfaces. These languages suggest unanswered questions, un-concluded narratives and the fear of un-consequentiality. The delicate surfaces hint at both fragility and complexity, it is my response to human history. 

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Wang Wei王雷

 

what the artist says : 

Since 2013, I have been subscribing to various newspapers at post offices, such as the Peoples Daily, Beijing Evening News and Peoples Liberation Army Daily. I have been subscribing to nine newspapers a year for more than a year, and I have continued to do so until now. According to the nature of the newspaper subscription, we produce different forms of space works. One full year of newspaper subscription can be applied by twisting and weaving to produce one work to express my understanding of this type of newspaper for that year and enter into the expression of ideas. (Wang Lei)

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Li Hongbo李洪波, 

what the artist says : 

The work originates from the “Paper Gourd” which we often played with in childhood.  A stack of thin paper can change into a variety of different forms.  I can see other alternatives for the paper-based language engaging such visual impact, from the concrete to the abstract, tangible to invisible, from norm to freedom, or vice versa. The continuity of the paper becomes an important element for language expression. Its concentration and dispersion, up and down, present a set of unpredictable possibilities.

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Zhang Dan 张丹

what the artist says : 

Exploring the power source of life as the starting point of creative inspiration interests me, it suggests that single mysterious powerhouse, some containable unit of life  such as the gene. It may even appear to be a kind of memorial to the lack of culture. The soul in my heart continually records the story of the elf’s cultural history, creating a mysterious atmosphere with drifting thoughts of desire and discovery. Full of uneasiness in meditation. The direction behind the work is wrapped in layers of historical sediment which has been being broken and reconstructed. The light of God guides me to meditate in confusion, and the space of light and shadow itself is the habitat of my soul.

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Qin Jian秦剑, 

what the artist says : 

The human desire to seek free space and issues of an ever increasing population which causes huge burden on the earth are some of the issues I explore. The natural state of human reproduction will change with the rapid development of in-vitro embryo technology and the maturity of robotics industry.  The results of these advancements are still unknown but the topic of human reproduction worship is another area I examine with my work. Delving into the depths of the human heart that deal with sensations such as memories of a past life or encorporating information from elsewhere, it is in these realms of displacement where my work lies.  

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Jerry Li 李家瑞,  

what the artist says : 

My current work investigates commonplace anxieties, trivialities and information. These are spliced together randomly on a flat plane with the aim of achieving a more spacious sense of location and information. This may involve many modes of communication such as writing, photos, painting, technology, manufacturing and so on. Whichever way it manifests itself, it must be an expression that persists in the plane. it must be zeitgeist in expression and bring  visually immediacy to the audience.

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Patrick Dewitt,

what the artist says: 

It is always an adventure to start a painting. I never have a goal and never know where it will bring me. The majority of my compositions are small because I usually add very fine lines and tiny details. Had I made them bigger they would most likely be heavier, those thin lines would be lost entirely and look completely different.

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Aimee Lee

What the artist says:

Paper is central to my work as material, tradition, and theme. All of these books are made from paper that I make directly from plants. The pages are embedded with more paper that I have dyed, spun, woven, and marked into the pages. The stories weave together personal narrative and an excavation of material history through text, line, and actual objects. 

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Quan Bao全宝, 

what the artist says : 

Borrowing from the landscapes on Chinese currency notes I explore the special effects using disposable napkins with oil on canvas. Producing a different sense of form which instigated many trials and further curiosity. The combination of classic traditional oil paint and cheap disposable napkins poses an interesting dichotomy. Framed within many fragmented images, I am fascinated by the ‘in between spaces’ connecting the collage sheets creating a crushing tension.

The massive daily consumption of these disposable napkins reflects on China’s rapid development and it is that material prosperity we see on the surface. And so there are new dichotomies of spirit and belief, crushing and rebuilding, prosperity and extinction.

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Niamh Cunningham 瑞莲

what the artist says : 

The sucrose series explores loss and reclamation through process and materiality. It involves a sequence of multiple interventions and explores how the physical matter itself can continue to push the creation event. Some of the interventions include sewing, ‘burning off’ the digital image from the surface, adding colour and of course the crystalisation process of sugar. Once I am finished working on the ‘sugar painting’ the process of crystalisation may continue to transform and obliterate. The imagery itself is of nature and the environment, places around Beijing which I know well and for which I have a strong affinity.  For more on this work click here 

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Yu Mo Wu吴禹墨, 

what the artist says : 

I worked with Xu Sheng in both Argentina and Iceland to gather the traces of sunlight, each working in the other country. “Collecting Sunshine” is a collaborative work performed simultaneously, one in the extreme cold and very limited sunshine of northern Iceland.  The opposite destination of South America provided intense summer light and high UV levels of Cuba, Peru, Chile, and Argentina.  We both gathered local “container” objects daily at the same time. Northern and Southern latitudes vary in UV intensity and so the ‘collected sunlight’ marks shadows of variable strengths and shapes on the photo sensitive paper different volumes of a variety of containers such as box, cup, cola cans, tourism products.

Each artist is either north or south, simultaneously in winter and summer, probing and testing sunlight and ultraviolet rays. It is a solar treasure as the concept lies in the fact that it is the containers that are collected by the sun in opposite sides of the planet thus completing the “polar dialogue”

 

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Kim Namo 金南五 (Jin Nanwu)

 

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Maribel Portela

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