[Press Release]
Qian Jiahua
Left：Outside, 135cm×150cm, Acrylic on Canvas, 2012 Right:inside, 30cm×45cm, Acrylic on Canvas, 2012
钱佳华
左图: 外头135cm×150cm,布面丙稀,2012 右图:里头,30cm×45cm, 布面丙稀,2012
In the end of September, I took Sichuan-Tibet Highway to go to Tibet. Through the visual experience, I acquired a different understanding of the concept “wandering”. Creation related to the theme “wandering” has been carried out for quite a long period of time. During the preparation of the exhibition, being able to use sensory organs to absorb and praise the spirit of nature and life and a personal visual language to accomplish a spiritual output and provision, coincidence like this, is undoubtedly an ultimate relief.
The different feelings about “wandering” possessed by traditional literati and contemporary intelligentsia is the content I want to interpret and express under the theme of “wandering”. Being close to nature and favoring landscapes is an organic part of traditional literati life. Life experience and cultural mode like this has deeply settled in the hearts of intelligentsia all through the ages. Honestly, contemporary intelligentsia is no exception: they place their feelings heavily on landscapes and enjoy the ease of wandering a lot. However, the life mode of industrialization, urbanization and mechanization has made them drift further and further away from nature. The opportunity to be close to nature has thus become estimable. Even though there were a chance to touch nature, their choice of landscapes and spiritual pursuit embodied could be different from traditional literati due to the evolution of living background. Perhaps, it is just because of the existence of this difference, the pursuit and inheritance of traditional literati’s “wandering” status can only be a utopian yearning for contemporary intellectuals.
Liu Yujie,Go Hunting,Oil on Canvas,96cm×120cm, 22cm×20cm, 5.2cmx4.5cm,2013
刘玉洁,出猎图,布面油画,96cm×120cm, 22cm×20cm, 5.2cmx4.5cm,2013
To maintain a healthy balance of the body, I started a routine three years ago: taking medicine every day, having periodic checks, adjusting the amount of medicine, attending the clinic and getting the report. “Taking medicine” and “getting report”, one is the process and the other is the result, but sometimes the nature of these two can be exchanged. Maybe it is the change of the body conditions that led to my sensitivity to things.
“Fei Yi (Composition)” comes from an idiom in The Book of Songs. Lesser Odes “Che ma zhi mei, Fei fei yi yi”, which describes the march of horses and carriages being stately and in order. This corresponds to the artistry that I have always been pursuing: each thing exists in its own status in an entirety and moves with the same rhythm. It seems that those small dots, thin lines, faint color differences and materials themselves are all organically functioning in the entirety, difficult to be discovered. They seem neat, peaceful and indistinctive.
My understanding of “space” is no longer just grassland or a room. It is more likely to be the two ends of some sort of extreme, which are continuously developing towards their respective directions. The works prepared for the exhibition are stage-representative. From the conversion of space and object, the discussion of the balance relationship of placing objects, to the exploration on the sensitive points of the materials themselves, the continuation and extension of creation is a kind of process that ceaselessly penetrates into the essence. A second, a day, a year, a day, a second-from fast to slow and then to fast again, moving in circles; I hope the rhythm of your observation is the same as the rhythm immersed in my work.
