Passengers without tickets
Su Mang
Famous Chinese fashion figures
Founder of Chaoshang Culture
The works of artist's power are not only a stack of symbols, but also a confusion of time and space and the interweaving of consciousness. The works of power are deeply influenced by Sartre's existentialist philosophy, and this relationship between existence and non existence reflects a fleeting, fleeting beauty in the works of power. This transience comes from an individual produced from a historical context, who is both imagined and real, harmonious and disconnected from the world around him. This wonderful connection between existence and nonexistence runs through every work of power. The characters in his paintings are not rigid in a painting or a textbook, but free. His existence is defined by the actions of the painter, by the character itself, and by the imagination of the viewer.
If you happen to be someone with knowledge of art history, congratulations, your brain is about to experience information overload. In the powerful "Art Fair", the girl wearing pearl earrings strolled around the art exhibition with a brochure, and the Arnolfini couple had a sweet wedding and started living with their children. Plato and Aristotle walked out of the Athens Academy in the crowd and into the powerful art exhibition in the crowd. Bacus, the god of wine, sold champagne together with the waitress of the Friberger Bar. Mona Lisa left the poetic vision and stood in the crowd inconspicuously. In addition to the characters in legendary works, artists also appear in the exhibition hall at random. Power not only paints artists, but also subtly connects their relationships in reality.
When symbols of each era are crowded in the art exhibition hall of power, a sense of confusion and absurdity comes with it. Here, not only a few symbols are disrupted, but also the cultural and historical context intertwined with this symbol. When the viewer is recognizing a symbol, they have to fall into such a confusion, on the one hand trying to separate the symbol from its past definition, and on the other hand trying to put it into a new context. When the viewer wants to reestablish the connection between symbols and definitions, the power increases the challenge to a new level of difficulty. He does not intend to give these symbols new definitions. These semi familiar and semi unfamiliar faces remain in a strange dimension, embracing and repelling each other, crowding in the viewer's field of view in a dizzying manner. Do they exist? Do they not exist? I cannot answer. The works of power tell the saying that in a mobile world, we are all travelers without tickets.
