Critical Reflection
In the previous work I focused on the creative process in the creator's unconscious state and the voyeurism of the production process itself into the subconscious of the self, the sculpture served as a tangible testament to my subconscious desires and beliefs. In my new work, #, I translate this method of creation into a performance in front of an audience, bringing the audience into my creative journey in real-timerather than a creative process that is invisible to the audience behind the sculpture.It's no longer just about the end product but about the act of creation, the raw emotion, and the vulnerabilities inherent in that process.
In this document, I will delve deeper into the nuances of my transition from introspection to performance in "#"and the implications it holds for both me as an artist and for my audience.
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Li Jiaxing
March - April 2023
Woolen yarn & Ceramic
#
Li Jiaxing
April - July 2023
Woolen yarn & Syrup
-The subconscious in the performance process - Episodic
The subconscious mind, a repository of feelings, memories, and desires, often operates in the background. In the work "#", there's a conscious decision to let the subconscious mind lead, turning the performance into an uncharted exploration of these hidden realms.
Unlike a scripted play that unfolds as per a predetermined narrative, "#" thrives on spontaneity. The subconscious mind emerges as the director, guiding the performance based on deep-seated emotions, latent memories, and suppressed desires. It's a tapestry of interwoven memories, feelings, and insights.
As such, the performance in "#" becomes highly episodic, reflecting the fragmented and layered nature of the subconscious. Different episodes surface at different times, offering glimpses into various facets of the psyche.But,in my previous work, the creative process was shrouded in mystery, taking place in the recesses of my unconscious mind.The subconscious need to be explored and then represented in a tangible form. The sculpture then stood as a testament to this private endeavor, a solidified reflection of my innermost thoughts, desires, and beliefs. However, in "#", it is shifted from this hidden domain to the spotlight,The performance is a dynamic manifestation of the subconscious processes, a living, breathing entity that evolves with each passing moment.
I laying bare the act of creation for all to see,it is shift from introspective soliloquy to an open dialogue with the audience.
I have to mention here that a couple of glasses of wine acted as the gentle nudge, easing the journey from the conscious to the subconscious. This slightly altered state of mind bridged the gap between the present reality and the deeper layers of the subconscious realm. This experience can be likened to self-hypnosis, where one's awareness is finely tuned inward, blurring the external world's distractions. Such a state, enveloped in a self-induced trance, serves as a protective shield against external influences. It ensures that the performance remains pure, unadulterated by the conscious mind's desire to appease or impress the audience. Instead of being acutely aware of performing in front of an audience, the focus shifts inwards, creating a space where art unfolds organically, driven solely by the inner workings of the mind. This dance between the conscious and the subconscious, facilitated by a relaxed state, offers a raw, unfiltered exploration of the artist's psyche.
-Red woollen sculpture
The use of red woollen sculptures in my artwork as a representation of primitive impulses, desires, and various facets of love is both visually striking and conceptually deep. The choice of color, texture, and materiality becomes essential in understanding the layers of meaning within these sculptures.
Red, traditionally associated with passion, urgency, and even danger, offers a vivid embodiment of the fervor and intensity of primitive desires. The color itself invokes feelings of warmth, arousal, and sometimes agitation, mirroring the unpredictable nature of human impulses. Wool, as a material, has a tactile, organic warmth. Its softness contrasts with the intensity of the color, suggesting a delicate balance between the raw power of primal instincts and the comforting familiarity of emotions like love.
The choice of wool further alludes to the interconnected threads of human experiences and memories. The tangled, knotted, or smooth structures my might create with the wool can metaphorically illustrate the complexities of human emotions and desires – sometimes clear and at other times, convoluted.
As far as I'm concerned, these sculptures seem to operate at the intersection of Sigmund Freud's idea of the "id" – the unorganized, instinctual part of our psyche – and Carl Jung's understanding of the "anima" or "animus" – representing the inner feminine side of a man and the masculine side of a woman, respectively. Freud's concept of the id aligns with your idea of "primitive impulses and desires," as it is the source of our bodily needs, wants, desires, and impulses, particularly our sexual and aggressive drives. Meanwhile, Jung's anima/animus touches upon the idea of subjective expectations and imaginations about love, as it represents the true self and is a pathway to deeper layers of the unconscious.
Thus, my red woollen sculpture serve as a manifestation of these deep-seated psychological constructs, bringing them to life in the physical realm. They are both a reflection of the subconscious mind and a tangible form of abstract emotional states. Through them, I craft a dialogue between the viewer and the artwork, inviting introspection and a journey into the depths of one's psyche.
-Syrup and the Body's Necessities
In this sense, my sculpture and performance can be seen as a manifestation of my own subconscious,and I can't help but feel that the profusion of the large irregular red fabric sculpture in the main location relates directly to where I was at the time, syrup and my body entering the realm of my creation, which was a memory and reflection of a failed intimate relationship.
The red fabric sculpture in # is the embodiment of my inner subconscious,The color red, associated with passion, desire, and deep emotions,it is a repository of emotions, memories and desires,also being the ideal object of love or affection.
Utilising the sticky, flowable and sweet taste and smell of syrup is key to the work #. The unpredictability and uncontrollability of emotions (especially those related to intimacy), the sometimes overwhelming and fleeting nature of love need to be characterised by the properties of syrup. The pouring of syrup over the sculpture symbolises the sweet allure of love and the initial stages of infatuation. However, as the performance progresses and the large amount of syrup poured makes the initial sweetness evolve into a sticky, restrictive barrier.
Ana Mendieta
Blood + Feathers, 1974
Paul McCarthy
Sauce (1974)
April - July 2023
Woolen yarn & Syrup
#
April - July 2023
Woolen yarn & Syrup
#
This is what I associate with Paul McCarthy.In 1974, McCarthy used ketchup as one of the key ingredients in a performance called "Sauce".By taking an everyday, benign substance like ketchup, which is associated with comfort and domesticity, and placing it in the context of a performance art piece, McCarthy subverted its traditional associations. This transformation of the mundane into something disturbing or unexpected is a hallmark of McCarthy's work.The viscosity and color of ketchup bear a resemblance to blood. In the context of a performance, the use of ketchup can evoke imagery of violence, trauma, or bodily harm without using actual blood. This creates a dissonance for the viewer, as the familiar is juxtaposed with the violent or grotesque.The malleability and adhesion of the syrup also exerted a strong force on my body.
It caused my clothes to gradually become transparent, which forced me to be naked due to the syrup's adhesion. As I wandered aimlessly around the sculpture, the large amount of syrup on the ground would impede my movement, making it sluggish and difficult. And when the syrup gets into my eyes, I can't open them because of the stinging pain.
At the same time, syrup's possesses incredible sweetness, but when overindulged or unclear, it can become overwhelming and suffocating. The syrupy aroma that permeates the gallery also possesses a scent that is both seductive and irresistibly aggressive on the senses.
Moreover, the sensuality of the syrup, as it clings and envelops my skin, combined with my direct physical responses, accentuates the vulnerabilities and rawness of personal experiences. my body becomes a site of memory, a canvas upon which past intimacies and pains are revisited and replayed.
There was an interesting moment when I was interrupted in the middle of my performance by a person who ended the performance by accident, rather than by plan.While many might perceive this as a disruption, I found it to be an enlightening and fortuitous layer of depth to my narrative. Her timely appearance and the act of pulling me out of the metaphorical quagmire, evoked by the enveloping molasses, resonated deeply with a tangible echo from my past. What some might dismiss as a mere hiccup in a professional art performance, I cherished for its sheer unpredictability.
April - July 2023
Woolen yarn & Syrup
#
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