*Click on the photographs for an in-depth explanation of each painting
Context
(Miku) Zhang Ming Xuan :
Perpetual Still Life II, 2023 , (Mike ) Zhang Ming Xuan
Miku's artistic practice explores hidden information within layers and opacity (Royal College of Art, n.d.). She uses materials like stockings and fabrics to craft abstract representations of femininity from both Eastern and Western perspectives (Royal College of Art, n.d.). Her recurring theme is the transition between the real world and flat surfaces, where fragile materials are etched to highlight vulnerability. Miku views the body as fluid, using distortions and absences to examine power dynamics and challenge social definitions(Royal College of Art, n.d.).
Over the Easter break, I had the chance to see Miku's works at Art Basel Hong Kong. I was immediately captivated, as they looked like oil paintings with stockings stretched over. I spoke with her agent and learned that the effect was achieved through mono-printing. This technique inspired me to consider monoprinting the texture of silk fibers onto my canvases instead, as rearing silkworms can be pretty messy. I spoke with technicians at Camberwell, and they said it might be possible. However, the stockings are more waterproof and stronger than silk fibers; hence, the effect might not be what I hope to achieve. Regardless, I think it is worth a try.
Went to Art Basel with my classmates
I see parallels in my own interest in layering and materiality in Miku's practice. Miku's exploration of hidden meanings and ambiguous states within her work encourages me to delve deeper into the symbolic potential of my materials.By observing how Miku manipulates opacity and transparency to convey vulnerability and transformation, I can also draw parallels to my own practice of using silk to symbolize the fragility of human experiences.I am also reminded of 'The Power and Politics of Textiles in Art' exhibition at Barbican, where similar concepts were explored, ie. symbolism in textile art (barbican, n.d.).
Even though our research topics are different, we both use female figures in our art. The fluidity of the body offers a compelling framework for examining my themes of intimacy and memory. However, to be honest, fluid bodies are not unique in contemporary art. Miku is definitely not the first artist to have used fluid bodies in her art. It is the way she does it, that sets her works apart from others. It made me think about my work. I typically depict the every day, which some might say is mundane. However, I think it is how those daily scenes are presented that makes a difference.
The way Miku balances Eastern and Western perspectives on femininity influences me to consider cultural influences in my work more critically.
Overall, the chat with Miku's agent was the biggest takeaway from Art Basel. He taught me so much about materiality, social media management, and pricing.
Liang Shao Ji:
Liang Shaoji, Chains: The Unbearable Lightness of Being
Liang Shaoji is an interdisciplinary artist renowned for his groundbreaking fusion of art and biology. His works have graced prestigious venues such as the Museum of Modern Art in New York and the Centre Pompidou in Paris. Liang has earned accolades, including the coveted Asia Arts Award and the Grand Prize at the Venice Biennale( Birmingham City Institute of Creative Arts, n.d.). Liang creates unique meditations on nature and human existence. Drawn to raw silk, he began breeding silkworms and incorporating them in artworks by setting them to spin their thread around objects. Resisting the rampant commercialization of modern Chinese art, Liang explores aspects of life and human qualities that influence social and cultural development (Prince Claus Fund, n.d.).
Liang's pioneering research into silkworms has influenced my artistic practice and sparked a personal connection. His work has been instrumental in my understanding of the intricacies and technicalities of using silkworms to spin silk directly on my canvas (Yang, 2018). As I delved deeper into his journey, the challenges he had to face, and his motivations, I found myself reinvigorated in my own exploration of silkworms despite my setbacks.
Liang Shao Ji, “Heavy Clouds”, 2014-2021
(Chu, 2022)
A common theme through Liang's works such as "Chains: The Unbearable Lightness of Being", “Time and Permanence” or “Heavy Clouds” is the nuanced understanding of the utilisation of the cocoon's dual nature: a space of safety and growth juxtaposed by confinement and unrealized potential (The Allure of Matter, n.d.). In its essence, the cocoon symbolizes a space where transformation is imminent yet unpredictable (Stein, 2005). I find parallels in my fascination with intimacy, which often exists in transient moments. Similar to how the cocoon provides the potential for transformation, intimate moments are meaningful moments that define our emotional landscapes.
In my research, I strive to capture transient yet intimate moments, understanding that their temporality is what gives them their magic. This mirrors Liang's exploration of unrealized potential within the cocoon (The Allure of Matter, n.d.). The cocoon must eventually hatch for silkworms to transform, much like how moments of intimacy must be acknowledged before they vanish into the continuum of time. Drawing lessons from Liang's work, I am able to recognize the dynamic interplay between varying elements (etc, preservation vs transformation), which can be further explored in the future.
Moreover, Liang's series and my research both delve into the concept of disappearance ( in my work, in the context of intimate memories). In Liang's work, the cocoon's protective shell may prevent the moth's emergence. This symbolizes hindered potential if one remains within one'sone's comfort zone. This is mirrored in the tension inherent in intimate memories, the tug-of-war between the desire to hold onto these moments and the reality of their inevitable erosion.
Overall, Liang's work opened new doors for me. It was the first time I was aware the natural environment and its processes can be harnessed to express profound human truths.
Liang Shaoji,“Time and Permanence” , 2013
(Chu, 2022)
The Everyday: Documents of Contemporary Art," edited by Stephen Johnstone :
"The Everyday: Documents of Contemporary Art," edited by Stephen Johnstone, explores the significance of the mundane and the everyday in contemporary art. "The Everyday" by Henri Lefebvre and "The Art of Describing" by Svetlana Alpers stood out to me due to their relevance to my practice.
Henri Lefebvre's "The Everyday"
Lefebvre's essay introduces the concept of the everyday as a platform for the intersection between 'the mundane and the habitual' and more significant moments (Johnstone, 2008). He purports that since people tend to favor the extraordinary, the beauty and significance of the everyday are often underestimated. However, it is within the everyday that the true essence of life is found (Johnstone, 2008). Lefebvre's critical examination challenges the traditional hierarchy that ranks the extraordinary over the mundane, encouraging artists to consider ordinary experiences (Johnstone, 2008).
Svetlana Alpers' "The Art of Describing"
Alpers' essay explores how everyday objects and scenes are depicted in art, particularly in Dutch painting (Johnstone, 2008). She highlights the meticulous attention to detail and the ability to capture the essence of the everyday in a way that transcends mere representation (Johnstone, 2008). It is specifically the focus on the everyday that allows for a deeper connection to the viewer (Johnstone, 2008). This is because it highlights the traditionally unnoticed, making the ordinary extraordinary through the act of description.
Comparison to My Practice
Lefebvre's argument aligns with my exploration of intimate memories in the mundane. This approach challenges viewers to reconsider their perception of the ordinary, much like Lefebvre advocates (OpenAI ChatGPT, 2024).
Alpers' analysis of Dutch painting's attention to everyday details mirrors my use of materials and techniques to evoke the fleeting nature of memories ( I employ silk and other delicate materials to capture the transient beauty of intimate moments) (Johnstone, 2008). This attention to detail enhances the aesthetic quality of my compositions and emphasizes the fragility and temporality inherent in human experiences.
Lessons Learned and Meaningfulness
-
Embrace the Mundane: It is not the mundane that is boring. It is how the mundane is described that determines whether the composition is interesting. In fact, focusing on everyday experiences can uncover deeper truths about human existence and connection.
-
Attention to Detail: Being meticulous is critical. As artists, we might uncover previously overlooked elements and transform the ordinary into something extraordinary. This approach might make the ephemeral nature of memories more vivid and relatable.
-
Challenge Perceptions: I have encountered artists who are reluctant to depict the every day because they are worried it might be boring. However, sometimes, it is important to look internally and reassess what is considered important in the creation of art.
barbican (n.d.). Unravel: The Power and Politics of Textiles in Art | Barbican. [online] www.barbican.org.uk. Available at: https://www.barbican.org.uk/our-story/press-room/unravel-the-power-and-politics-of-textiles-in-art.
Birmingham City Institute of Creative Arts (n.d.). Liang Shaoji. [online] Birmingham City University. Available at: https://www.bcu.ac.uk/art/research/centre-for-chinese-visual-arts/research-projects/everyday-legend/exhibitions/liang-shaoji [Accessed 22 May 2024].
Chu, S. (2022). Liang Shaoji on his Career Making Art with Silkworms. [online] The World of Chinese. Available at: https://www.theworldofchinese.com/2022/01/life-entangled-artist-liang-shaoji-on-working-with-silkworms/ [Accessed 22 May 2024].
Johnstone, S. (2008). The Everyday. MIT Press (MA).
Prince Claus Fund (n.d.). Liang Shaoji. [online] Prince Claus Fund. Available at: https://princeclausfund.org/laureate/liang-shaoji [Accessed 22 May 2024].
Royal College of Art (n.d.). Mingxuan(Miku) Zhang. [online] 2023.rca.ac.uk. Available at: https://2023.rca.ac.uk/students/mingxuan-zhang/ [Accessed 22 May 2024].
Stein, M. (2005). Transformation : emergence of the self. College Station: Texas A & M University Press.
The Allure of Matter (n.d.). Liang Shaoji. [online] The Allure of Matter. Available at: https://theallureofmatter.org/artists/liang-shaoji/.
Yang, J. (2018). Pursuit for the Tao through the Silkworm: A Conversation with Liang Shaoji. jyx.jyu.fi. [online] doi:https://doi.org/10.17011/jyx/dataset/59988.
OpenAI ChatGPT (2024) ChatGPT response to Esme Tan, 13 May
Grammar corrected by ChatGPT