I mold me.
Ni Kuan. In recent decades, there have been tremendous and rapid changes in science, philosophy, social aesthetics, and general techniques, but these do not seem to have much impact on my perception and pursuit of sculpture art, and I only know one of the other types of sculpture plates, such as "public", "theme", "formal language", "experiment" and "digital". I prefer to interpret ancient sages based on the understanding and creative experience of calligraphy, painting and printing art, and using the Chinese humanistic spirit as the pillar.
Sculpture is tangible poetry, charming painting, and textured gold and stone.
At present, I am only good at the various bodies of the seal, and I am not proficient in grass, but I yearn for the realm of cursive freehand - quietly observe and meditate on the heart, and then concentrate on it, and wave it away." Each plastic a work, the image of the charm of painstaking management, after the beginning of the bamboo, the knife up and down, natural, the ancients wrote cursive state, just like my freehand character sculpture. Or, is my freehand figure sculpture a "dark song" with cursive writing, and it also has a full book flavor?
The "freehand" of my sculpture is the expression of imagery, hoping to allow the viewer to imagine and construct his own aesthetic image and meaning space with an uncertain and incomplete quality. Uncertainty, that is, the duality of concealment and appearance, which seems to be mysterious, makes freehand sculpture both limited and open, that is to say: freehand sculpture is a work of art created by the artist, but it is not just a work of art, but a work that allows the viewer to open up the understanding of the past, present and future through their own observation, so it is the viewer and the artist who jointly give meaning to each freehand sculpture work. In other words, the freehand sculpture created by the artist forms a corresponding channel with each different viewer, and gathers an image that transcends the sculpture itself in the chaos of the duality of the visible and the hidden.
In the process of shaping the freehand figures, I make full use of the characteristics of the clay material, strengthen the performance and communication of the sculpture language, and explore the meaning of the interpretation object with the artist's aesthetics, and summarize and strengthen the charm of the object.
Editor-in-charge: Wang Qitong.