In the first of a series of continuous articles looking at themes and memes in contemporary iconography, we begin by considering the vortex, by definition a swirling mass of air or liquid but popularly associated with danger, such as a cyclone or black hole.
Our first example of the image of the vortex is a series of photographic-based works by Bai Yiluo, famous for his genre-breaking photo-sculptures, particularly his jade-sarcophagus composed of thousands of black and white pass-photographs of nameless people.
Bai’s “Song of the System” series revolves around notions of tribal shields, marking social ties but also defense. Is it truly a vortex? This is uncertain but definitional wrangling here would be arid. We are not concerned with the subjective intention but the objective associations provoked. The ‘vortex’ as image derives principally from concentricity, possibly inducing a sense of movement or visual irritation, of vertigo, and Bai’s works fit this notion, with their combination of circles and patterns. The enduring power of the vortex as symbol owes much to frankly archaic, sometimes histrionic obsessions. It is a simple symbol that lends itself too easily to fire-gazing paranoia – the vortex as infinite abyss. As much is suggested in the final work shown here, No.14, where the ‘shield’ is composed of a figure-8 infinity symbol – the shield as infinite trap, but for whom?*
*Meg Maggio reminded me that Bai’s “shields” also draw a connection – a wormhole? – between traditional African shields and Buddhist mandala iconography. (January 8, 2013)
All images courtesy Pékin Fine Arts >> see randian 燃点 spaces.
Next in Vortex: Marc Quinn
Also in Vortex: Laurent Grasso | Marc Quinn
