I think painting embodies more than a mature creation and should no be confined to a canvas or an art gallery. Painting is like a voice that connects. It exists in nature and people's thinking, life and the most important thing is how we discover. For example, flowing water, melting snow, when we hear images, there are already images in our minds; when we talk about someone and something, there are also narrative images in our minds. They are a form of invisible painting. Each individual's brain instantly generates different images and emotions within its inherent cognitive sphere. I hope that my work allows people to quickly discover these images in their minds and resonate emotionally. Therefore, I am good at using relaxed and iconic symbols and images, as well as objects in people's daily life as materials, to accurately and intuitively convey positive and beautiful themes and emotions to others.
Jue Hou
At this stage, I think that some iconic old objects in people's daily life can more intuitively arouse people's emotions than canvas and can better reflect the layering of different pictures because I have been pursuing visual effects between different materials and different colours. So my medium of choice has changed from canvas to old or everyday objects.
In the selection of materials, Arte Povera's "dissolving the boundary between art and daily life" and the material-based concept of Mono-ha gave me a lot of inspiration. So I look for old objects that can resonate with people and try to recreate them in my works, looking for the possibility of artistic creation in old objects.
The search process also raised a question that made me ponder: the idea of Mono-ha is to oppose formalism on the basis of matter. And does the re-creation of old things belong to a certain sense of formalism? This question led me to focus on the relationship of materials to the work and the subject of the work: should the material be related to the subject or can it be used only as a medium? At my current job I don't think there is a standard answer to it. Next, I will continue to explore the materials in my life and apply them to my works. The balance of materials and works will also be something I have been thinking about.
In future plans, I will continue to experiment with various materials for a long time, balancing and exploring the relationship between work, audience and space. For the future I want to extend the painting medium beyond old objects and other media, and use blank space as a material.
The pagoda was originally a place where Asian countries enshrined or collected Buddha statues, Buddhist scriptures, and monks' remains, which are sacred and inviolable. The towering point-like building has a sense of mission connected to the sky, so I chose the tower shape as a medium to send a signal to the sky. I collected old things with the most ordinary flavour of life, sending a signal of love and peace to the universe, or actually my yearning for love and peace.
The old objects in this work include: wooden boxes for vegetables, wooden boxes for wine, wooden lockers, (people, plants, animals, cities) small models, old toys, photo frames, mirrors, vases, dried flowers, small LED lights, turf, pencils, rice paper, gauze, small pieces of wood, toothpicks.