The exhibition shows a collection of installations created by Xi in 2014, which she applies clothing as a medium to bridge between art and design via a unique language. Titled Grand Design, the exhibition aims to call for a spirit of non-action, that is, to remove those ready-to-wear art experiences and to create a piece of art "which has never been done before". Since genesis, clothing has been seen as a sign of social status. When Adam and Eve took a pair of fig leaves to cover their naked body, the first piece of clothes was born. The material of fig determined its ephemeral functions as season changes; therefore God has bestowed them clothes made of animal sacrifice. Later, clothes have marked the transition of natural men to social men, reveals the occupation, gender and social status of individuals. As British intellectual Joanna Entwistle puts in The Fashioned Body, “It is the body that fashion speaks to and which is dressed in almost all social situations and encounters. ” Day after day, they become part of the human history, inheriting the memories of the nation, tracing back the tides of the time, that is to see the world in a grand of sand, to pass through a century by the trend of fashion. As a crossover researcher who studies fashion, design and art, Xi regards much importance of the process of re-design. Throw away has been a daily behavior that has...
People view the world through their windows. Yet, whatever it is, whether it is beautiful or ugly, the view has already been restricted by the square grid. Jacy Sun said this exactly mirrored the days that she was away from her paintbrush. During those monotonous and mindless days when she carries the video camera to and from her studio, regardless of being exposed to the wind and rain, the “Triangle Window” inside of her is always firm. In front of the same lattice, but at various latitudes, her heart is like a wasteland, with weeds overgrown. She dreams of herself being Edward Scissorhands, by continually weeding and activating this land, she has her heart liberated, transformed, sprouted, grown with the plants. The softer and softer wood core and the tenacious textures, all those signs of growth have been captured by her brush which is as meticulous and acute as in traditional Chinese paintings. Frame by frame, she separates the movie stream. The tempo and the gesture she does it, neither too hasty nor too slow, neither heavy nor light – echoes the growth in her intimate and independent garden of art. There, things are covered by moss, with nobody around. Alone they grow, but occasionally sprout some dark green leaves of joy. The leaves hop out vividly and make sounds on Sun’s drawing board. And in Mustard Seed, a space that also witnesses the birth and growth of seeds, photosynthesis...
"One day, I saw forty-three sunsets!" "You know, when one is sad, he always feels like sunset. " Inspired by the Little Prince, Zhang Peiyun decides to make the observation of sunset into a long-term project. So long that she has been doing this so that she wakes up everyday by the "sunset" moment like having another bio clock. And all these started from a recording of the sun. No matter it was about "four suns at hometown" mentioned by stranger on road, or the sky seen from her bedroom, it always brings her some subtle feelings. The space is a mix of poems and dreams. Every second that falling down exquisitely and every micro-scenes on dreams were shown in her video works. It is through her hands that daily objects have been magically dissolved - sometimes turned into translucent cloud in the sky. But people in this modern refuge live in such a hurry that they just turn a blind eye to them. Zhang wakes up our weary consciousness and takes us to meditate on the miracles of the nature. This is a room of light. Combining studio and bedroom, it not only takes on daily functions but also offers a space for art creation. It is naked as a room of intimacy, while sincere as a studio for heart. Then the heart living in this room is nearly transparent. And only transparency could meet light. Zhang believes in her intuition that she could perceive the...
At one time, the Moon was very close to the Earth. Then the tides gradually pushed her far away: the tides that the Moon herself caused in the Earth's waters, where the Earth slowly loses energy. --Calvino She, collects breathes of the hemispheres, the rising and falling of tides in the Maria, and projects them into a moonlight sonata. Three mute videos, like ladders to the moon, insensibly detect the indescribable 18% inside of Zhang Kerui. Its rising is from one end of the heavens, and its circuit to the other end of them; and there is nothing hidden from its heat. [Psalm 19:6] “Cleansed” from the grey “dust”, Zeng Lulin built a shelter for the “vastness” and herself, where she muttered and muttered. And the sundial, going round and round endlessly, installs her “piece of recalling”. As the first exhibition of 2014, Mustard Seed Space is pleased to have a dual of emergent artists--Zhang Kerui and Zeng Lulin. On February 22nd, 4:22 p.m., SUNDIAL will be presented.
For those science adopters, the "Big Bang" theory is an effort to explain that our universe was embarked on its original condition and the ensuing cosmological module after evolution: since the beginning, the universe was under an extremely hot and dense state, thereafter the gradual expanding and cooling process, followed with countless planet’s birth and death, fragments of rock were wandering as cosmic dust in the universal field. Due to the drastic alteration of temperature and intensity, all kinds of materials appeared magically. Undergoing the revival after the "Big Bang", a whole new world began. Similarly, a minimal "Big Bang" experiment has been taken place in Wang Yanlyn's studio in Shanghai－a tiny room less than twenty square meters. Wearing the gas mask as astronauts and introducing Apollo space capsule to her teeny kitchen, she put microscopic structure of rock images into oil and high temperature, which made a happening of cancerous alienation. Drastic changes have been made to its former texture and surface, a series of new image and information was created, image and paper eroded mutually and hybrid to a brand-new materialistic piece, which Yanlyn called "oiled image specimen". Amazed by the produced image, she began being obsessed with those embryo rocks in creation. Among her rock collection, those in relevant with her "oil image specimen" in terms of image and feature have been colored with acrylic in topology, given similar semblance but variant essence, they are co-existed...
We first got to know Wang Meibo, a cutting edge artist, from his series of paintings entitled "The World Cup". With his youth and passion, he made a definite mark on the canvas, filled with the color of vibrant green and a style of mixed cubism. After the "Formula Racing" series, he made his turn from painting objects of motion to those of absolute stillness----the stones. Where there was once confusion, struggle and hesitation, the "Stones" emerged with an exploding force. Since the 1950's, American Artist Carl Andre has been describing a microscopic world with his minimalism concept, deconstructing and remodeling the relationship of human and nature into a unified form, returning to the most fundamental origin of art form----the lines. Minimalism was a chosen language for Wang Meibo, as well. "I am Here" is a young artist's announcement of his recognition of the identity of his experiments on conceptions and social interventions. It is a triangle----the artist's individuality, the art agency and the social environment. The young artist expresses how the three coexist. In this new series, the reality of the three dimensional space and the single dimension of time have been compressed into a flat status. The artist chose the simplest color of black and white. The stones become storage for the artist's emotions. The hardness of a stone and its finest texture express a dramatic emotional conflict on the paper. The exhibition includes three clues----"Where am I...
The mixture of the applied single lines, cubes, mosaics, and geometries, together with the hybrid of materials has been transformed into a unique multi-medium language in Yujing’s art, hence regenerates a new order to express the undulating structure of his art-life. Line (1/2/3/4, 2012), depicts a series of slight changes being occurred on an echocardiogram, when the ears were filled with audible noise of heart murmurs, the inside was flowing as still as ripples in the stream. In Five Pieces (2012), the lopsided musical notes appear like five fingers working together, their functions being divided in logical order, with one dominating the others, they mutually making progression to run toward a new prelude. Frame (2011) was an exploration from backward order prior to clicking the camera lens via backlighting, and the DARKNESS (2013) was buried at the bottom end of dark pupils; With bee wax and glass being installed into a new impressionistic QUESTION MARK (2013), the exhibition was stroked by the artist in a mixed-medium tone, seemingly in disorder from outer surface, yet being layered in order intrinsically, which scatters steadily in resonance at Mustard Seed Space.
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