weaving scenery shallow crossing latest works by Jiang Wanlin
The honour of the Joint Art Centre:
The "Weaving · Qiandu-Jiang Wanlin's Latest Works Exhibition" planned by Li Yujun, a young curator and executive editor-in-chief of "Mobile Art", will be presented on the official subscription number of the Common Art Centre, "Youzan", "Ziyiyun", Sina Weibo and other online all-media platforms from September 10, 2020.
The latest works will be exhibited at booth A15 of "2020 Art Shenzhen" from September 10th to 13th, 2020;
2020 Art Shenzhen Exhibition Site
Artist Jiang Wanlin (second from left)
Bao Yu, co-founder of the Joint Art Centre (one from right)
With collectors at the 2020 art exhibition site in Shenzhen
During the exhibition, Jiang Wanlin's latest works and theme activities will be presented in different offline spaces, hoping to show the story and heart journey behind Jiang Wanlin's artistic creation in more depth!
Dialogue: Li Yujun vs Jiang Wanlin
Jiang Wanlin studied in the Chinese Painting Department of the Academy of Fine Arts of Sichuan Conservatory of Music when she was at university. Her diligent and eager to learn made her go to the National University of South Korea for exchange and study many times. She also went to Venice University of Architecture and Florence Academy of Fine Arts to study art and painting. Later, she obtained the ink of Sichuan Con Master of Landscape Major. However, after studying Chinese literati landscape painting for 7 years in the atmosphere of traditional ink, her current works contain strong conflict and dramatic reconciliation. Perhaps this is the portrayal of her inner state and the surrounding world. Peng Feng, dean of the School of Art of Peking University, commented on her: "I saw the most precious quality of the artist in Wanlin. Her works reflect the rhyme of fine brushwork, combined with cowboy materials, and have a very contemporary feeling."
Jiang: In 2017, I was doing relevant creation intermittently. After graduating in 2018, I had new goals and new social roles. I began to transform from traditional Chinese literati painting training to more exploratory visual expression of contemporary art. After that, I fully devoted myself to the creation of this medium. On August 29, 2019. The day launched my first solo exhibition in my life, "Poetry of Poverty", a landscape work created with cowboy materials.
When reviewing my life experience, I realised that I had been raised as a boy since I was a child. I had to take care of my family at a very young age, and went to the railway station to sell things to support my family. When I asked my family to send me my childhood clothes, I found that I had the most cowboys. They are wear-resistant and wear-resistant, and their toughness is very similar to themselves. Coupled with my many years of study experience and training in landscape painting, the idea of wanting to make cloth landscape came out.
I care about the state of today's society, which is enveiled by consumerism. People consume and eliminate things very quickly. I'm thinking, are all outdated and useless things garbage? I can convert them into something more valuable and carrying the spirit of the times.
Love Series - Memory
Mixed Material
2020
Love Series - Ji
Mixed Material
2020
Love Series - Quiet
Mixed Material
Li: At what stage did you create this batch of works presented on the cloud platform? What are the aspects of thinking in the creative process?
Jiang: It was completed during the epidemic from the end of last year to 2020. Due to the epidemic, I did not go home during the Spring Festival and stayed in the studio until now. Artistic creation needs to constantly break through itself. This series of creation is another attempt at my solo exhibition "Poetry of Poverty" last year. I tried to introduce colourful colours and gentle fluffy fibres into the picture to dilute the difficulty and roughness brought to the audience by the previous stage of recycled denim.
Love Series - Mist
Mixed Material
100x100cm
Mixed Material
2020
Mixed Material
Li: What is the relationship and difference between self-awareness and conceptual expression in creation in the "wuyushanshui" series and "Love" series?
Jiang: The "Mother Desire Landscape" series is the creative motif of my solo exhibition "Poetry of Poverty" last year. It was the expression of my own stage state at that time, as an expression of an amateur art craftsman.
In classical China, the aesthetic care of the landscape and pastoral pastoral reflects the continuous warmth and affection of the farming people for their land. Literary painting has continued the aesthetic experience of the Chinese people for thousands of years, and this aesthetic interest in turn nourishes and casts our national character.
In today's China, for various reasons, our eyes are occupied by ubiquitous images and mobile phone videos, and we have no time to get visual beauty from the traditional landscape. We are far away from the land and the landscape and the countryside. With the wave of urbanisation, mercantilism and consumerism have profoundly changed and reshaped the daily life of Chinese people. A large number of rural people have separated from the land and entered the city, and the disorderly gathering of people has spawned the countryside in the city. The contemporary Chinese landscape I want to show in my work - a consumption landscape formed by a fashion industry guided by denim fabric and commercial aesthetics mixed with hopeless youth piles - the desire landscape of young people.
The "love" series is this year's new work. After the "baptism" of the epidemic, I began to think about it. Coupled with the sudden disaster during the epidemic, many families have been torn apart from each other. During the epidemic, I also had the pain of losing my family. For various reasons, my heart began to soften. I hope my works at this stage can convey a kind of warmth and love. So I gave the work colourful colours and used a new material - cotton silk, a material very common in our daily life - an extremely soft material. I hope that my work can become as humane as my heart, can warm up and infect more people, so that they can still feel the love and warmth of the world. " The different expressions of the "Desired mountain water" series and "love" series are mainly expressed by the different expressions of my personal staged mood.
Desired mountain water - Mountain scenery across the river II
Φ106cm
Mixed Material
Mixed Material
Li: What aspects do you know and think about from drawing inspiration from traditional Chinese landscape painting to the contemporary transformation of creative language?
Jiang: In the West, the development of shelf painting art to this day seems to exhaust all possibilities, but with his long-term study and training of traditional Chinese painting, it is still somewhat possible to create and break through between Eastern and Western cultures; There is a saying called big break, because of the special material, I completely abandoned the material level of pen and ink, abandoned a set of rules and some aesthetic concepts behind the pen and ink, but retained the Chinese interest that I think has a spiritual sense, and denim and its behind it carries the Western culture represented by the United States, it appeared in China, in the historical trend was originally a long and charming landscape, I hope that this east and west, a virtual and a real dislocation grafting and mix-and-match, can come up with a unique picture expression, Able to carry the zeitgeist of our generation.
Mixed Material
2020
Desired mountain water - Fog Lock Nanshan Mountain
Mixed Material
Jiang: I have eight years of professional training in traditional Chinese literati painting. In literati painting, I pay great attention to pen and ink fun and French creation. Literary painting pays great attention to themes. Different literati painters specialise in different themes, such as Banqiao is good at painting bamboo, Qiu Ying is good at green landscape, and Zhao Ji is good I'm actually anti-theme. I don't want to leave people with the stereotype of literati painters. I pay more attention to the combination of different materials, broken, superposition, etc., which can give the picture interesting. Maybe this point is actually connected with the pen and ink in literati painting. As a denim fabric, many people have actually I am the first person to change the literati painting of Chinese interest. The most difficult thing about my work is not only to abandon tradition, but also to continue tradition. Every work is very entangled. There is a classic aesthetic term, form is content. I deeply believe that my work tries to remove elements that have nothing to do with the sense of form of the picture. In the past, there was a little theme narrative or petty sentiment in painting, It's all simplified, but it's not enough. In the exhibition of "Poetry of Poverty", I made a lot of additions, and because I just graduated, the newborn calf is not afraid of tigers, and his strength is relatively fierce. He likes the whole painting, such as a large picture of double-screen, double, triplet, quadruple, The content is actually a sense of form. I like the double screen, and it is the heavy screen of denim fabric. This kind of dislocation between traditional and modern materials is meaningful. In addition, I convert the use of line drawing in literati painting into cotton threads of various colours, which can create a unique inner temperament for women.
Mixed Material
Mixed Material
Green mountains are not old, but snow white
Mixed Material
Φ100cm
Mixed Material
Jiang: The beginning of 2020 is very dramatic, everyone is in the bucket room, like trapped beast fighting, although this has an impact on artists, but the creation of solitary bucket rooms is the norm, throughout the entire history of mankind, most of the time, the plague epidemic is not a rare thing, in the face of the global new crown epidemic, what is art? In this special period, I hope that through the exhibition "Weaving Scenery and Shallow Crossing", I can bring you the artist's answer to this question through my continuous creation, that is, to stabilize your heart and do your own work well. to maintain the dignity of their profession.
Mixed Material
Dislocation mountain and water
100x100cm
Mixed Material
2019
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Related reading
Common Art Centre | The poetry of poverty | Review of Jiang Wanlin's Solo Exhibition
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