Artist | Liao Fei works overview - II
廖斐
Liao Fei
Liao Fei was born in Jiangxi in 1981. He graduated from Shanghai Normal University in 2006. He is now based in Shanghai. His recent solo exhibitions include: “Depiction”, The Cloister Project, Shanghai, China (2021-2022); “Is everything a contingent occurence”, OCAT Shanghai, China (2021); “Res Extensa”, Vanguard Gallery X O Art Center, Shanghai, China (2018); “Plain”, Shanghai Museum of Glass, Shanghai, China (2016); “Perspective”, YveYang Gallery, Boston, USA (2016); “The Equater”, Vanguard Gallery, Shanghai, China (2016). He also participated in the following group exhibitions: “Silent Thunder”, UCCA Center for Contemporary Art, Beijing, China (2021); “Dis-/Continuing Traditions: Contemporary Video Art from China”, Salamanca Arts Centre, Stamania, Australia (2021); “The C”, Tank Shanghai, Shanghai, China (2020); “ANNEALING”, Shanghai Museum of Glass, China, (2020); “In the Open or in Stealth—The Unruly Presence of an Intimate Future”, MACBA Museu d’Art Contemporani de Barcelona, Barcelona, Spain (2018); “Botanic Project, Busan Museum of Art”, Busan, Korea (2018); “Frontier:Re-assessment of Post-Globlisational Politics”, OCAT Institute, Beijing, China (2018); “The 5th Huayu Youth Award”, Huayu Art Center, Sanya, China (2017); “Today’s Yesterday—Anren Biennial”, OCAT, Chengdu, China (2017); “The New Normal: China, Art, and 2017”, UCCA, Beijing, China (2017); “Why Not Ask Again: Arguments, Counter-arguments, and Stories”, The 11th Shanghai Biennale, Power Station of Art, China (2016–2017).
Liao Fei explores the relationship and tension in material materials in his works - between reality and geometry, between cognition and mysticism, between duality and simplification. While drawing attention to the broader concepts related to these relationships, his works also reveal the metaphysical temperament contained in everyday materials.
Vanguard Gallery is pleased to review Liao Fei's works recently in a total of three posts. The current post, the II, aims to present Liao Fei's works related to the "matter" theme.
About Matter
No.1
Installation | Table, fan, two chairs | 210×100×75cm | 2011
The interlocutors sit at both ends of the table, and the voice of the dialogue will be changed by the wind when the fan is turned on.
About Matter
No.9
Installation | 10000 table tennis, 25 fans | 10m×10m | 2011
Table tennis balls are scattered on the ground, and after the fan is turned on, the balls move due to the wind, and finally form a fixed shape that does not change.
I mostly start my creation step by step from a "material" perspective, searching for a way to hide the emotional part, rather than relying on it: just do simple, mechanical, clear superposition and present what it is.
That is, after you put a lot of materials together, you suddenly discover the relations between them. In fact, the relations are not revealed by you, but seen by you due to their own characterstics.
Winding Curve
Paper, dimension variable | 2018
By connecting the pages together in an origami fashion, the originally flat paper takes on a wavy and sinuous shape, while in the long run the curve eventually becomes straight.
Res ExtensaLiao Fei's solo exhibition
Vanguard Gallery X O Art Center, Shanghai (2018)
47 kinds of blue/45 kinds of red
Installation | 976×110×259cm | 2020
Color has highly visible and perceptible materiality, but its existence is extremely dependent on the projected medium, display system, and even the subjective perception of the human mind. The same color will appear differently when printed or projected on different media. In this work, the same color is printed on paper of different materials. Although they are of the same color, the color will still be different due to the different paper quality. At the same time, no matter how many different blues/reds appear in this work, there is actually only one blue/red. There is a horizontal crease on each sheet. Join these creases to form a horizontal line. In this work, 47 blue sheets and 45 red sheets are displayed, which is a very small number of sheets. Theoretically, as much paper can be presented, as long can stretch this horizontal line, which can be used to show the continuation and vastness of the nature of things.
The display form of the work is a passageway, a passageway that is temporarily isolated. In the perception of space, color and its single and subtle changes, it is hoped that the audience will have a fleeting but different experience when passing by.
A series of glass boxes No.2
Oil on Canvas | 80 x 110 cm
2012
A series of glass boxes No.4
Oil on Canvas | 90 x 100 cm
2012
Plato Polyhedron (Regular Octahedron)
Oil on canvas | 67.5 × 70 cm
2011
Plato Polyhedron (Regular Tetrahedron)
Oil on canvas | 51 × 60 cm
2011
Shape Grant 2
Oil on canvas | 140×110cm | 2019
The geometric outcomes of two equivalent hexagons and a circle in tangent and circumscribing relations with the symmetry axes of the hexagons dialled apart.
Depiction Liao Fei's solo exhibition
The Cloister Project, Shanghai (2021-2022)
Continuous Surface
Installation | Armoured glass, stainless steel | 2.2×2.2×2.2m | 2016
Ripples occur when a drop of water falls on the surface of water.It is a kind of wave diffusion. The density of water and the distance between banks are all factors that affect the speed of ripple diffusion. However, the depth of water below the water level is the most important factor that affects the speed of ripple diffusion. “continuous plane” shows the change in the time axis of the ripples caused by the water drop. The number marked in the title is the size and depth of the water area generated by the preset ripples in the calculation model. Under different conditions, the diffusion speed is completely different, and the three-dimensional model on the time axis is also completely different.
Installation | Armoured glass, stainless steel | 1×1×1m | 2016
Infinitely Approaching Flatness
Wood | Dimensions variable | 2017
"Infinitely Approaching Flatness" is to explore the concept of "infinite" - Liao Fei put a piece of log into water and cut the part of the floating wood out of the water; then put it into the water and cut the part of the wood out of the water again; repeatedly operate until the technical limit can be reached.
The Equator Monument. No.1
Installation | Timber, rope, building debris | 310 x 310 x 310cm | 2015
Liao Fei created "The Equator Monument" with primary manufacturing materials and even wastes which can be seen everywhere in rural-urban fringe and Liao Fei’s studio located there. Obviously the work's location is far away from the equator, Liao Fei just extracted the vertical form and an artificial line can’t be accurately corresponded in real world from the equator monument. What the work represent is the tension arising when we attempt to catch flowing and changing objects with rigid concept.
The EquatorLiao Fei's solo exhibition
Vanguard Gallery, Shanghai (2016)
Liao Fei works overview - I >>>
Please stay tuned for Liao Fei works overview III
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