Back to the vision, feel the soul, photo essay by Yongning Qian
“You always depict a moment left by the image, you can never copy the cup on the table, just a residual image you depict.” – Alberto Giacometti
Choosing images is not only a way of choosing, but also a visual angle. Compared to painting, the image is no longer a narrative and reproduction. The moment is not enough to create many, just as Giacometti laments the remnants of the image, and the remnants point out the limitations of traditional art. However, the use of the artist’s ideas and image processing techniques for image re creation, or “the second creation”, seemed to bring a new opportunity to Giacometti ‘s sigh.
In the heart of the author diffusion “mournful autumn” feelings, may be the only footnote in the works of the sense of desolation. And “hidden” has become the author’s most eager to elaborate on the profound theme. Hidden in the city, hidden in human nature, hidden in the light created by any corner. Implicit is an attitude, a kind of avoidance, a escape, a regression. Under the author’s desire to seek different perspectives, the implicit appeal makes it inevitable to go to the edge. When the times reveal things more and more strange and can not be explained, the search for the real behind, re awakening the heart, is the content to be expressed. Death and rebirth, oppression and struggle, quiet and restless, is reshaping the contradiction which makes the picture a sense of desolation as summer, but did not have the stars, the dull life find hope in despair, so uncertainty and helpless, without a trace of praise. The perspective of the work will open up a new vision, the light and shadow converge into a visual vortex, perspective of each viewer’s state of mind and interpretation.
The picture is mottled, low in color, hazy in form, cluttered and hidden, as if everything were in private. The dim image is like the result of centrifugal force of light and shadow, which makes us infatuated with the real and unreal evil. It must be said that the obscurity in photographic works is ambiguous and hateful. When a piece of work is not visually readable, there is no doubt that the viewer’s mind will change, and subconsciously explore the content behind the obscurity and become the one thousand Hamlet in the work. So, be open hazy works of various interpretation of the easy way out of the place, become the “connotation”, “deep”, “thought” the hypocrisy of intermediary, but also very hazy poetry, rhetoric itself is the vague and driving people to ponder and indulge, make people confused, difficult to extricate themselves, all of which may be the author wants to express.
To view images of Mr Qian Yongning’s early works, the original experimental characteristics is more obvious, from the original still figurative, now slightly abstract “nothingness”; from the light and shadow of explicit and implicit annotations to read; from the city and people to talk to, to escape from the wilderness and fam. It has completed a transformation and beyond. Qian Yongning’s recent creation, “Monogatari” Series, is in the artistic style and language form refraction of silent things, daily things, a trace of indifference and meditation. The process of mapping inner purification and experience has reached an unprecedented height in the expression of artistic conception.
Wandering from the original home, let the image regeneration, is the soul of practice.
“Nature is happy to hide,” says Heraclitus, the Greek philosopher.
The only way to reveal the hiding thing is to contact nature with body and mind, and use both eyes to direct things. Touch and intuition, with the purification and sublimation of the mind.