拾萬北京｜石之海｜经傲

你会从身边选取一些物件，之后感受它们之间的关联性，而后形成一个联合的状态。“哼的咳嗽”里有邻居家自然死亡的树、妈妈种的葫芦、珊瑚等自然物。作品的形态感比较松弛，一如这个它的名字。在这次与物的相处和创作中，有什么体验可以分享？

拾萬

神秘性与你创作的关联是什么？

 经傲

1993年生于河北。2017年毕业于伦敦大学金史密斯学院，2019年毕业于英国皇家艺术学院当代艺术实践专业公共研究⽅向。现生活和工作于北京。经傲的创作探索主要围绕声音展开，最终呈现的媒介形态会根据内容和语境的不同需要而相应而生。相对于辩证思维，她更偏好于叙事性和文学性，在疑问中游走。过程中，她将自身与外界的实时反应，真诚地转化到创作中。

Hold in Play

Hold in Play原初是来自于儿时的连线图的游戏，顺着上面的数字画线，完成已经设定好的唯一答案。在反观规则时，经傲去掉既定的排序，将生活里的所见之物都变成可被“连线”的点。她参与了一场，自身与物，物与物的多向交流，不断地体验“本然”“ 我力” 与“外力”的关系，生成最终的物像实体形态。

关于绘画

在进行雕塑或装置媒介创作时，经傲与其的关系更像是寻求一种力的平衡，身体的参与感也偏强。相对于绘画，她主观上的预设会少些，画面呈现的状态相对轻松随性，像从脑子里溜出来的精灵。她不会太较着劲，也不会刻意从绘画里索求更多，承载画的材料成为了倾听者。

Jing Ao

Born in Hebei in 1993, Jing Ao graduated from Goldsmiths College, University of London in 2017 and from the Contemporary Art Practice program at the Royal College of Art in London in 2019, majoring in public studies in contemporary art practice. She currently lives and works in Beijing. Jing Ao's creative exploration mainly revolves around sound, and the final form of the medium presented will vary according to the needs of the content and context. She prefers narrative and literature to dialectical thinking, wandering in doubt. In the process, she translates her real-time reactions with the outside world into her creations sincerely.

Hold in Play

Hold in Play originally came from a childhood connecting-the-dots game, where you follow the numbers to draw lines and complete the unique answer that was already set. When looking back at the rules, Jing Ao removed the established order and turned all the objects seen in life into points that could be "connected". She participated in a multi-directional communication between herself and objects, and objects and objects, constantly experiencing the relationship between "innate," "self-power," and "external power," resulting in the final physical form of the object image.

About Painting

When creating sculptures or installations, Jing Ao's is more like seeking a balance of forces and a strong sense of physical involvement. Compared with painting, she has fewer subjective preconceptions, and the images are relatively relaxed and spontaneous, like a genie slipping out of her head. She does not try too hard, nor does she deliberately ask for more from the paintings, the materials that carry the paintings become the listener.