Critical Reflection
During the initial phase of creating my sculpture, I intentionally abandoned any reliance on logic or rational thought processes, choosing instead to allow the piece to develop unconsciously and be guided by my subjective motivations. This meant refraining from conducting any research in the pre-creation stage, as I wished to remain uninfluenced by outside ideas or theories. Essentially, the process was akin to an experiment, with the final sculpture serving as a portal into my own subconscious beliefs and desires. In this way, the act of creating the sculpture became a form of self-psychoanalysis through art therapy, enabling me to access and clarify repressed impulses before safely integrating them into my conscious awareness.
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（Performance）
Li Jiaxing
March - April 2023
Woolen yarn & Ceramic
No title
Li Jiaxing
2023
oil painting
In this sense, my sculpture can be seen as a manifestation of my own subconscious， and I can't help but feel that the profusion of red in my pieces is tied to my skin condition. As I observed the relentless encroachment of red ringworm on my body, I felt my consciousness slipping into a crimson vortex, and I felt as if I was drowning in red. Yet, rather than shying away from this overwhelming hue, I chose to embrace it fully in my art. In doing so, I found a way to confront and express the inner turmoil that had been brewing within me. In psychology, the color red is often associated with strong emotions such as passion, anger, and desire. From a theological perspective, red embodies notions of divine vitality, energy, and passion. Red can also be symbolic of danger or warning, as well as physicality and the body. Through my sculptures, I have been able to externalize my subconscious impulses, and in turn, understand them better. The red that once felt suffocating now serves as a bridge between my subconscious and conscious selves, allowing me to explore and process the complexities of my being.
The influence of Cthulhu , ancient gods and religious iconography on my own subconscious are also evident. The use of chaotic and sometimes grotesque imagery is a nod to the dark, primal forces that underlie human existence, echoing the themes of cosmic horror and existential dread found in Lovecraftian literature. Yet, unlike the nihilistic worldview of Lovecraft's universe, my sculptures offer a more positive, redemptive message. Through the exploration of the subconscious and the dissolution of the ego, viewers are invited into a religious pilgrimage created by my subconscious, which connects to connect with a deeper sense of spiritual truth, one that transcends the limitations of the human ego and connects us to something larger and more profound.
Giotto di Bondone
（1267 – January 8, 1337）
FRESCOS DE LA CAPILLA SCROVEGNI de Padua (1303-1306).
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Li Jiaxing
March - April 2023
Woolen yarn & Ceramic
Giotto di Bondone
（1267 – January 8, 1337）
San Francesco rinuncia ai beni terreni,
1295-1299 circa, affresco, 270×230. Assisi, Basilica superiore
Li Jiaxing
March - April 2023
Woolen yarn & Ceramic
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The hand hanging directly above the red crocheted body in this sculpture can be interpreted in the context of The hand of God from Giotto's religious fresco and religious iconography. The hand of God is often used in Christian art to symbolize divine intervention and guidance. Like the hand hanging directly above the red crocheted body in this sculpture,the hanging hand may represent the idea of a higher power or divine force that can provide guidance and support in times of psychological turmoil.
Similarly, the two strongly textured red right legs are an important part of this sculpture and there is an interesting experiment on these two legs.
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Li Jiaxing
March - April 2023
（Sketch）
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（Dark）
Li Jiaxing
March - April 2023
Woolen yarn & Ceramic
Initially, in my exhibition plan, positioning the legs directly underneath the red knitted sculpture was intended to create a sense of isolation. However, upon presenting the artwork in the gallery,I observed that this arrangement resulted in a stronger isolation and denied the viewer access to my subconscious, which goes against my intention.
By repositioning the two legs around the main knitted sculpture, a shift occurs in the viewer's experience. The previous sense of rejection and isolation dissipates, allowing viewers to enter my subconscious territory and engage with the pilgrimage ritual I have crafted. This strategic placement creates an inviting pathway, granting viewers access to the depths of my artistic exploration and inviting them to participate in the symbolic journey I have conceptualized.
The presence of the legs surrounding the main sculpture serves as a metaphorical gateway, symbolizing the opening of a portal to my subconscious world. The viewer is no longer denied entry but is welcomed into the sacred space I have created. By eliminating the isolating effect, I enable viewers to immerse themselves in the ritualistic experience and engage with the deeper layers of my artistic expressio.
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Li Jiaxing
March - April 2023
Woolen yarn & Ceramic
The intentional arrangement of the legs not only influences the viewer's interaction with my work but also enhances the overall narrative and conceptual significance. It reinforces the notion of pilgrimage, as viewers are guided through a transformative experience, traversing the boundary between the conscious and subconscious realms.
At the same time through the performance aspect of my sculptures, I delve into the intricate dynamics of the self. This exploration mirrors Freud's concept of the ego's struggle to balance the demands of the id and superego. The performance becomes a manifestation of the ongoing journey of growth, nurture, suppression, and redemption—a dance between opposing forces within the psyche.
In the exhibition of my work, I adopt a deliberate approach rooted in psychoanalytic theory. By refraining from providing detailed explanations or context to viewers, I invite them to embark on a personal pilgrimage into the enigmatic territory of my sculptures. This absence of explicit guidance mirrors the process of delving into the depths of the psyche, where meanings and revelations often emerge through introspection and self-discovery. Viewers, akin to strangers entering another person's dream or unwitting participants in a primitive religious rite, become active participants in deciphering the symbolic language of the artwork.