Zhu Shangxi, executive director of the China Sculpture Society, professor of Sichuan Fine Arts Institute, editor-in-chief of Sculpture magazine, and national outstanding teacher.
In 2013, he came into contact with Sketch Up to create abstract sculptures, and Sculptris to create abstract and figurative sculptures.
In February 2014, he released a series of digital sculpture works for the first time in his WeChat circle of friends, among which "Mo Yan" participated in the annual exhibition of the British Portrait Sculptors Society in 2018.
In August 2014, "Butterfly Space" modeled by Sketch Up participated in the sculpture exhibition of the 12th National Art Exhibition.
In 2015, he learned zbrush according to the lecture of digital sculptor Zhang Sheng.
In May 2015, the digital portrait sculptures "Xian Xinghai" and "Lei Yizin" participated in the 2015 annual exhibition held by the British Portrait Sculptors Association.
In December 2015, the digital sculpture "Digital Space" series (9 pieces) participated in the 2015 Taiyuan International Sculpture Biennale.
In 2015, he gave a keynote speech on "The Influence of Digital Network on Sculptors" at the China Sculpture Art Forum hosted by the China Sculpture Society.
In 2015, "Art Square" modeled by Sketch Up participated in the "Chinese Gesture" sculpture exhibition.
In 2016, he posted the first character sketch avatar made with zbrush in his WeChat circle of friends.
In December 2018, "Digital Body Sketch Series" (5 pieces) participated in the "Different: 2018 China Datong Sculpture Biennale".
In July 2019, he gave a keynote speech at the 21st China Sculpture Forum hosted by Sculpture Magazine, "Sculpture and Technology: Sculpture Prospects under 5G Conditions".
In November 2019, in the advanced seminar on digital sculpture in Quyang, Hebei Province, he taught human body sketching for digital sculpture for the first time.
In 2020, under the advice and guidance of sculptor Fang Xin, he began to purchase equipment and learn to use VR for sculpture creation.
In May 2020, during the pandemic, he used Sculptris to create a series of 15 pieces in the "State of Life".
In June 2020, he used VR to create the anti-epidemic theme work "The Third World War".
In July 2020, he planned and participated in the "Making Something Out of Nothing - Sculptor Four-Person VR Creation Camp 2020", and created 5 works.
From March to July 2021, he planned and participated in the "Red Cornerstone - Celebrating the Centennial of the Founding of the Communist Party of China Digital Sculpture Creation Online Exhibition", and created three works: "Yellow River Cantata-Xian Xinghai", "Pioneer", and "National Honorary Title Winner "People's Hero" - Chen Wei".
From January 2021 to October 2021, he participated in the "100%: 2021 East Lake International Ecological Sculpture Biennale", and the exhibited work was "Fragment Art Museum" in Cloud Space, and launched a solo exhibition "The Form of Life - Zhu Shangxi Virtual Sculpture Exhibition" in this cloud art museum. At the same time, he created 6 pieces of physical sculpture "The Form of Life" series.
January 2023 - The National Arts** funded the 2020 annual implementation project "Island of Wisdom", which belongs. The main body of the project is the sculptor Zhu Shangxi. Due to the pandemic, the project began to be officially implemented in 2022. After a year of rigorous creation by Zhu Shangxi, his results were approved by the "National Art Management Center" in February 2023 and the project was completed. The main outcomes of the project are: a, 23-meter-high "Island of Wisdom" stainless steel products; b. Build a "Pixel Island: Metaverse Art Museum"; c. Complete the special exhibition of 35 pieces of personal works in the "Island of Wisdom".
The National Arts** Grant Project "Island of Wisdom".
Huizhidao Series" Zhu Shangxi Metaverse Sculpture Exhibition (1).
Wisdom Island Series" Zhu Shangxi Metaverse Sculpture Exhibition (2).
Wisdom Island Series" Zhu Shangxi Metaverse Sculpture Exhibition (3).
Wisdom Island Series" Zhu Shangxi Metaverse Sculpture Exhibition (4).
Huizhidao Series" Zhu Shangxi Metaverse Sculpture Exhibition (5).
Wisdom Island Series" Zhu Shangxi Metaverse Sculpture Exhibition (6).
Wisdom Island Series" Zhu Shangxi Metaverse Sculpture Exhibition (7).
Hui Zhi Island Series" Zhu Shangxi Metaverse Sculpture Exhibition (8).
Hui Zhi Island Series" Zhu Shangxi Metaverse Sculpture Exhibition (9).
Wisdom Island Series" Zhu Shangxi Metaverse Sculpture Exhibition (10).
Huizhi Island Series" Zhu Shangxi Metaverse Sculpture Exhibition (11).
Wisdom Island Series" Zhu Shangxi Metaverse Sculpture Exhibition (12).
Wisdom Island Series" Zhu Shangxi Metaverse Sculpture Exhibition (13).
Wisdom Island Series" Zhu Shangxi Metaverse Sculpture Exhibition (14).
Wisdom Island Series" Zhu Shangxi Metaverse Sculpture Exhibition (15).
Zhu Shangxi's view of the metaverse sculpture.
The shock wave of the creation revolution with Internet technology as the driving force on sculpture will be far greater than the revolution of sculpture caused by the birth of photography. The revolution in photography gave birth to the modernism of sculpture, and it will be interesting to see what the current metaverse sculpture revolution will lead to. However, such a revolution will not happen only by waiting and seeing, and it is only by the active participation and practice of every sculptor that a new explosive revolution can be brewed.
Sculpture has a history of 30,000 years. In addition to the sparkling thoughts, the sculptor's creation can only be realized by the sculptor's hands and the tools in his hands, and can be eternal. And the fusion of hands and tools is technology. Human technology is one of the important contents of science and technology. The history of sculpture has always proven that sculptors have never rejected technology. In any embrace between the sculptor and technology, the evolution and transformation of the sculpture itself is promoted.
Since sculpture has a history of 10,000 years, it is certainly not the same thing as another branch of digital technology, animation art. The history of anime is only twenty or thirty years. Personally, I think we can embrace everything new, including anime, but sculpture is sculpture, and sculpture naturally has the essence of a long tradition to uphold. To be honest, it's easy for someone with a sculptural cultivation to be an anime character.
The teaching of digital sculpture in the college sculpture should establish a teaching material and teaching system that conforms to the laws of the college sculpture. The learning and teaching of modeling software should be consistent with the classroom practice of sculpture, and on this basis, the expansion of the sculpture language by the digital technology of the metaverse can be studied. Completely copying the animation digital modeling textbooks on the market will tear apart from the clay modeling practice in the college classroom and is incompatible. SculptorsBorn digital sculptors should devote themselves to compiling digital sculpture textbooks that belong to the academy of sculpture.
The power of digital software and the magic of metaverse technology will make our sculptures extremely complex. Have we thought about it? When everyone is very rich and complex in front of the computer; When coolness becomes easy, when "abundance" becomes easy, when sophistication and mannerism abound, is that another homogenization driven by new technologies? What should we do when conciseness becomes difficult and simplicity becomes rare? Where should art go?
Although sculptors are the group of people who embrace technology, "technology ≠ art" is certain.