When writing about the direction her practice is going, Rui Wang speaks of a sense deterioration she experiences in the physical realm after spending much time working in the virtual world. As her re-entry into the material world, her recent graphite drawings explore the relative permanence of materiality itself.The five artists included in the upcoming Open Critique share little in common when it comes to their educational background, subject matter, and the stage of their careers. It is thus curious, almost simultaneous, their works each set out “capture” or “freeze” a thingy-ness.While Wang seeks out materiality in her graphite drawings, Daniel Chen renders it through layering of paint in his oil paintings. The artist dabs, presses, and scratches paint of contrasting colors to erect tactility on flat canvases. Chen’s painterly strokes are almost violent, yet vulnerable. Zihan Liang experiments with various image-making processes, bring the people living inside her head to life. An imagined memory is played, paused, and snipped frame by frame. Time and sentimentality are given weight on paper and canvases. The elements in Junyi Lu’s paintings seem to be founded in the real world. However, her humanoids exhibit no discernible traits, and the subtle relationship between objects in the background often defies physical reality. Zhiliang Zhao appropriates hosts of captives, fly traps and nests, in his sculptures; mirrors, too, actively capture and frame images. Intrusion is only made possible when the boundaries are drawn by the hosting agents.
On some level, the five participating artists all draw on well-defined traditional media, such oil painting, graphite drawing, and clay sculptures, to freeze, even just momentarily, an ephemerality. Perhaps even the word “thing-yness”carry too much weight for what the artists attempt to capture. It is a fleeting feeling so ill-defined there may just be no counterpart in physicality.
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Chen Siyu (b.1996, Shanghai) studied abroad between Singapore and North America from 2012 to 2018. Currently, she is doing art creation in her bedroom while she is engaged in teaching and research on science and technology innovation.
Daniel Chen (b. 1997 Huntsville, Alabama, USA) paints images that combine modernist abstraction with banal, mundane life to document fleeting, literal, and metaphorical moments – a flower to signify love, beauty, time, and ultimately collecting the pieces again after the death of the flower. Currently living and working in Shanghai, China and having received his BFA in painting from the Rhode Island School of Design in 2019, Daniel Chen is an artist as a model of the American dream acting as a bridge balancing his relationship and lived experiences to his home country and identity. Drawing from the history of still-life and landscape painting which has historically been deemed lesser, feminine art genres and often dismissed, the work subverts, exploits, and combines the history of abstraction and impressionism creating a dichotomy between sincere tenderness and extravagant decoration. They are modest, humble paintings that exist in lived experience and are culminations of a variety of painterly languages and vibrant colors invested in heartbreaking temporariness. Daniel Chen hopes to give beauty to a world that seems to lack an abundance of it and to say “I love you” to loved ones and family.
Blossom, 2020,oil on canvas, 40 x 45cmJunyi Lu was born in Guangzhou, China in 1996, and has graduated from Maryland Institute College of Art with an honored BFA degree in 2018. She currently lives and works in Shanghai, China. Her practice specializes in paintings with varied mediums in order to create absurd images emphasizing visual perceptions and evoking subtle personal responses from the viewer. Based on dialectical thoughts about our modern society influenced by a capitalistic pursuit of efficiency, her works explore human’s future position in relation to nature and technology. Pursuing an abstract and effective visual expression, Lu sets figures with ambiguous gender and minimal body features in fictional scenes where components are attached with symbolic meanings to create narratives. She manipulates different materials and mediums to form multiple layers within objects and nuance in space. The juxtaposition of the absurd imagery and its methodical finish is designed to leave dumbfounded humour to the audience. Her works have been exhibited in GlogauAIR Berlin, Ke Art Museum, and Untitled Space in Shanghai.Road Trip (WIP)，2020，acrylic oil on canvas，150 x 150cmLiang Zihan (b.1996) received her BFA from The School of the Art Institute of Chicago in 2018 with a focus on painting. She now lives in Guangdong and Shanghai, working as a freelance writer and translator while maintaining a studio practice of painting, drawing and artist book. Through her practice, she is figuring out her relationship with the passing of time. She wants to portray the time that is about to past, looking for the silhouette of a passing-by in the time and space of blowing wind.Hua，2020，gesso and gouach on canvas ，120x150cmBorn in Sichuan in 1989, Graduated from Sichuan Academy of Fine Arts in 2012. Then I went to Beijing. Lived and worked in Beijing for 6 years and moved to Shanghai in 2018. Now long addiction to the Internet, Wandering around in the online world. Is the "Vagrant", "Naturalist" and "Invisible guest" of the virtual world. Network ID: “闲人” “人精”. At present, it mainly explores the body and consciousness of oneself and observes the external world through image editing.物质性重复-1，2020，Aluminum plate，pencil on paper，stone，leaf，resin，54 x 48cm
Born 1996 in Shenzhen, China, Zhiliang Zhao currently lives and works in Shanghai. He graduated B.F.A. in Spring 2019 from University of Southern California, Los Angeles. Zhao's sculptures and mixed-media installations oscillate between comfort and anxiety, often with the body as a site. Hand-crafted porcelain and clay objects lie next to sterile, familiar domestic products. Humour comes in as stealthily as fluid or sight travels through tubes or holes. A playful wink, a coy nudge.Pink Sock，2020，paper clay, mirror acrylic, cardboard, gouache，165 x 24 x 24 cm
下期驻地艺术家丨施金豆 New artist-in-residence Lane Shi Otayonii