Interview with Tang Xiao
Aura, Garden and Lake:
The halo, garden and lake as the exhibition structure were originally the impression of Tanghu Art Museum. It was an exhibition held by three artists in three spaces in the same art museum. The title of the exhibition gives a psychological projection of the artist's personal impression. Halos, gardens and lakes are very concrete psychological suggestions. When we mention aura, a halo appears in our mind. This halo may be a ring-shaped fluorescent lamp, or it may be a ring-shaped land belt in the computer game Halo. Different psychological images will give the audience an initial impression. Everyone will have an ideal garden in their mind, and how to arrange this garden will also have a corresponding picture. Wuhan is a city surrounded by a lake. The experience of meeting the lake while growing up is very picturesque. We first create images of halos, gardens and lakes for the audience. When the audience walks into the exhibition hall and sees our works with their own assumptions, they may experience contrasts, deja vu, other intersections or more complex emotions.
Works in the exhibition:
This work is a big jump from my previous works in form. Before, I hoped that my works would always be at the level of painting, and then I would judge, discover, and solve problems. Previous three-dimensional works have a contextual relationship with them, and they are studying issues of space and viewing.
From a spatial perspective, I hope that my work will stay at the level of painting and look at the problem. However, it is different from previous paintings. Suppose the flat canvas is pulled out to form a three-dimensional structure, and each unit area of this three-dimensional structure is expressed through painting. This is the same original intention as the previous painting architecture. Extending to the question of viewing, flat paintings move in different spaces, from the artist's studio, from the easel, from the wall to another space. On a white wall, moving these constructed pictures to another white wall is a temporary end point. In these spaces, moving to see the works actually opens funnels on the walls. When the work is placed on the wall, it creates the illusion of reaching in. From this wall, you can see that there may be people or things behind the wall. The story actually takes place behind the wall. Standing in front of the picture, I am the starting point. The gaze extends to the picture, the three-dimensional world constructed with experience, what happens behind the picture, what are the things in the distance, the middle, and the nearest doing. Use experience and this painting to construct the world. This process can be reversed, so that the wall becomes the starting point and the person becomes the end point. After a three-dimensional work is put on the wall, the wall is the main body, like a tree trunk, and the work is the branches, or the ax that cuts on the wall. The tree trunk is the place where it ends. It grows out and extends towards people, and its end point is people. At about two meters, the work has a depth of one meter. The space between the person and the work is the space and viewing experience created by the artist.
The lake itself is abstract. Everyone knows what a lake is, but the sight of the lake in everyone's mind is different. The scene constructed in the brain is usually the lake that we are used to seeing. Children in Hankou think of Northwest Lake, children in Wuchang think of Fruit Lake or East Lake, and children in Jiangxia think of Tangxun Lake. There was once a certain scene, a certain point in time that impressed him deeply, and then this scene became his impression of the lake. This work is not a continuation of the previous three-dimensional works. "Lake" is a very stubborn impression I had of a lake at a certain time. When I think of a lake, the picture will flash into my mind. Regarding the occupation of space and the experience of viewing, I hope that the work is the starting point and the person is the end point.
The observation experience I imagine is a sense of distance, which can be time distance or physical distance. I hope to reflect this sense of distance. Like the lake is a huge volume. This size gives people the impression that they can smell the fishy smell of the lake, feel the humidity, and the wind. Although standing by the lake, I always feel that the lake is far away. This sense of distance is reproduced in the exhibition hall. The space of the exhibition hall is limited in size. How to reflect this sense of distance in the limited space is my main consideration when implementing this plan.
Aura and Garden:
Lang Xuebo, his paintings give me a very strong, hard, very hard impression. Whether it is the characters he painted in the picture, or the illumination given to these characters, this illumination changes the inherent color and produces light. The color, in the dark background, always makes people nervous, very hard, or rises to some kind of confrontation. There may or may not be political elements in the work, but I think what he expresses is not just politics, or even politics at all. He needs this sense of tension, this sense of oppression given by the light. Light is invisible, but light often gives people an emotion. Under strong light, the light will give people a very strong pressure, making you feel insignificant, all the scenery will be blurred, and you will even doubt your location. So light is a very important expression object in Lang Xuebo's works. When we think of aura, it is not a physical object, it is an emotion, or a visual illusion, a sense of self-protection that arises when we encounter some stimuli that we cannot resist or are too strong. How does light form a concrete image? Since it can be imagined as a ring, it should be a limitation given by space. It is more of a physiological change, harvest-like, and defensive. Chen Bo's garden. I think Chen Bo is a very poetic person. When talking to him, you often feel that he is also talking and conversing with you, but you feel that he is not next to you. Physically he is beside us, but I feel that he is erratic. Although the garden is a very realistic existence, it is also a very dreamy existence. Everyone saw the garden, because there were many things in the garden, and just like Cheng Ran said, there were piles of bricks scattered there. There may be a piece of it that you want to find. You know it exists, but it is impossible to find it. It is a very complex structure, like a garden, with countless grasses. You know one of them is the one you want. But he is among countless trees. He may be weaving this kind of thing for us. This is my idea about him. His paintings are painting this tree or this person. I don’t think it’s the feeling that his tones give us. Therefore, often when you are in a garden, you don’t know what to look at. The garden surrounds you. Logically, it should be there, but it's not.