Object Momento collaborates with Huten Gallery to present a group exhibition "Escape of Light" featuring selected recent works of four artists: Chen Li, Feng Yan, Jessie Tan, and Yu Wenjie. The exhibition will be open on June 9th, 2023, at 4pm and will be on display during gallery hours until July 9th, 2023.
In the postmodern present, as we search for the door to the future, the guiding light in our hand casts a halo of light along our line of sight; every step forward, it seems that the scope of light becomes larger. As we awaken from the collective consciousness bound to move forward with absolute princeples, we gradually break away from the metanarrative and turn our viewing perspective to the small narrative. The linear relationship instantly dissolves, and time and space are instantly stripped of their logical armor, intermingling, and distorting like water, rapidly and non-stop shifting their forms as never before. "Escape of light" is based on the commonality of visual cues in the work of four artists. “Light” here refers not only to the physical basis of the creation of visual forms but also to the perceptual elements that connect the artist and the audience on a level of spiritual awareness. In the category of visual art, "abstraction" is understood as the subjective spiritual expression of objective nature, while the current "abstraction" is swimming in the cross-media practice, and if we are not careful, we will easily fall into the current of information and drown in a vortex of information. We wish to fly a kite of "abstraction" in the steady rhythm of introspection, using "light" as a thread.
Chen Li's work mainly uses synthetic color materials on a two-dimensional plane, with flexible lines that create spatial order on a wide range of colors and express the creator's mood in a unique way. coherent rhythm: seemingly careless passages capture the unique spiritual atmosphere of Chen Li's point of view in the details of the texture. The series of balsam flowers displayed in the exhibition reflect the voice of a woman who was suppressed by social relations under certain restrictive environmental conditions that persisted through childhood memories of dyeing her nails with balsam flowers in the countryside; The blooming flowers symbolize flexible self-expansion,
and the brave struggle against speechlessness and suffering.
Feng Yan is adept at interweaving the broken illusion of reality with geography-like textures. Her experience of learning intaglio makes “trace” and “fortuity” emphasized in her creation. The work presents a vast sentimental space and a flowing sense of movement. Her perception of humanity and astronomy is intuitional and stems from the spiritual thinking of human beings as subjects. "Mother" celebrates the wild and vigorous life force of Mother Earth. The traces of man and nature intersect in a long and narrow space, just like a corner of the canyon where the history of humanity
and the essence of heaven and earth are concentrated.
Tan experiments with painting as an a priori form of image, emphasizing the intuitive, open and receptive nature of the act of painting, attempting to break free from the shackles of empirical cognition and thus unleash the power of perception; for her, the increasingly refined logic of rules under excessive argumentation and filtering has cut off the inextricable meaning of life, while the intuition-driven backwards cognition is more effective in helping to understand the self. The work "Jessie" extends the traditional concept of self-portrait, viewing the mirror image of oneself from a
reflective perspective; the abstract brushstrokes alienate the form of the figure, refining the "I" in the picture into a universal "container The abstract brushstrokes alienate the form of the figure, refining the "I" in the picture into a universal "container" to accommodate the diverse "he/she/it".
Yu focuses on the contradictions, conflicts, and connections between individuals and the world through his works, in which ironic humor can often be felt. Yu Wenjie seeks to explore and express every moment of discovery unobtrusively through diverse media exploration. He leaps forward to combine history and the future, showing that "the present is both past and future" in his works. The work "Fountain Edge" presents a spiritual image in Yu Wenjie's mind centered on a fountain; he uses a sewing machine to stitch together cotton, silk, linen, and watercolor paper, and then adds
dry color powder to the surface to fix it, to "mend" the shattered memories of dreams in his mind.
