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Graphic Design

Qiaoran Li

Qiaoran Li is a visual communicator based in London, UK. After a few years of studying product design, her practice has expanded into storytelling across different visual media.

“My research explores the aesthetics of politics and entertainment within centralised communication networks.”

Show Location: Battersea campus: Studio Building, First Floor

The globalised digital age, where images are fluid and changeable, is as liquid as capital, people, weather, data, energy and resources. However, capital and political power have existed in a centralised form, creating a contradiction between individual freedom and the control of power in contemporary society. 

In the digital age, where images are fluid and changeable, the Chinese government is defending its political status. The political images that constantly stack and proliferate have roughly swept the public along like a storm, blurring away physical objects and physiological perceptions in the real world. They are insidious and fickle. It means that for propaganda to work most effectively, it can only do so by claiming to be what it is not. It hides in any form, easily and gradually eating away at people’s minds like an ulcer.

Based on this, I combine multimedia and images to achieve a narrative effect to criticize how the government shapes the political images as its strategy.

The globalised digital age, where images are fluid and changeable, is as liquid as capital, people, weather, data, energy and resources. However, capital and political power have existed in a centralised form, creating a contradiction between individual freedom and the control of power in contemporary society. 

 In the digital age, where images are fluid and changeable, the Chinese government is defending its political status. The political images that constantly stack and proliferate have roughly swept the public along like a storm, blurring away physical objects and technological and physiological perceptions in the real world. They are insidious and fickle. It means that for propaganda to work most effectively, it can only do so by claiming to be what it is not. It hides in any form, easily and gradually eating away at people’s minds like an ulcer.

Medium:

image, 3D modeling,photography

Size:

A4

By deconstructing the original political images, I restructure the symbols of power in the images and re-narrate them in the form of animation.

//Mirror, mirror on the wall.

Show me in succession all

My faces, that I may view and choose which I would like as true.//

----- Veronica Forrest-Thomson


Veronica Forrest-Thomson's mirror is similar to the expectations of the Poison Queen in <Snow White> in that it is an idealisation that demands to see all that one wants to see so that they can have the 'would like as true' rather than what is the true. 

The news is an idealized 'mirror' in the absolute sense of the word. By presenting the state of society in and out of the ‘mirror' to expose the contrast between what’s being said and what’s really being talked around.

Medium:

moving image