Mardi 14 Avril 2015 16:30:46 par Clarisse Treilles dans Expositions

While inspecting the revelation-type interaction and combination between some kind of historical discrepancy and the existing implications of images, I want to ask, "Can such a kind of transference and borrowing of images lead to a more open space of meaning?" From this standpoint, we may be able to think what the images of art and the new reality are with the more legible clues.

© Mao Yu

Mao Yu apparently focuses on the internal vision of image generation, but not pays any attention to the sociological signifier or faces the field of realistic criticism. At the moment he set foot in Shunling Mausoleum (the mausoleum of the mother of Wu Zetian), his rubbing from the stone statues of the mausoleum in the Central Shaanxi Plain hinted the active demand in the interlacing of time and space. Centering on the "Shunling Mausoleum Walking Lion Statues" and other related statues, Mao Yu started the thinking and exploration on the relationship between images, space, objects and paintings.

In that rubbing activity with a strange process, he completed 20 rubbings of statues in different dimensions. He clearly rubbed the images from the surface of large stone statues with the Xuan paper and ink, and transformed the three-dimensional images into the one-dimensional ones. According to his saying, if the historical time is taken as the fourth dimension, the light ink traces on the Xuan paper bear and contain the ambiguous and divergent information.