Half Remembered Gesture
About the installation+Digital sound+ performance
Tree 苍Water 润Reflation ( original frog ) 气Digital sound 韵
In Chinese Classical painting there is no static representation of reality but rather the presentation of moving forces captured in different vectors or fields of resonance. The feet become organs of perception as much of the eyes because they collect together the diagrammatic structure of the lines of energy of nature which are invisible to the eye. By opening the body to such forces a complex web of visible and invisible traces emerges as a field of becoming. The aesthetic outcome of this is not so much a depiction of the visible but rather an embodied breath resonance within the durational frame. What my performance project is attempting to do is to extended these or such principles or abstraction into other forms whilst preserving the spirit of the tradition. The branch of the tree serves as the conductor of the energies that pass backwards and forwards from high to low, and from low to high, the voices establish a field of resonance, the sound (invariably technologically generated) collects virtual energies, and bodies display the faculty of movement and channel memories which articulate experience of temporality. Overall this constituents a living performance in which the gaze of tradition mixes with the secret longing for a form of memory of the future. In one passage a voice, a movement or a sound might serve as an echo chamber of deep time but then this might be reconfigured as a leap into an impossible image of the future. There are no defined representational figures in this because the spirit that distribute and collects these forms or structures is beyond representation and fixed identity. All that is certain is that it begins emptiness or silence and returns there and between this there are simply forces moving this and that way. Performance is but an intersection of these held within a durational frame. The ultimate aim then is simply the portrayal of the possibilities that emerge from this. The point being is to have a perspective whichdestroys the framing of it. This is close to the project of deconstruction but also opens out an experiment in the mixing of registers such that temporality is given new dimensions.
yi yin qiu sheng : use music pursue sound白 bai :white
木 mu : wood
光 guang :light
空 kong :emptiness
人 reng : people语 yu : spoke
返 fan :return
影 ying :reflection
School of Arts & Humanities
MA Painting, 2018
+44 (0)7472 551153+861 8513812177
All the arts including painting and music start from a common impulse and for the impulse to be realised there needs to be a reconfiguration of the relationship of time and space. This is the deepest level of abstraction and carries a pulsational energy into the field of attention. Voice or graphical marks are inscriptions into the matrix of space, time and energy. From an early age I was immersed in the arts of dance, music, song and painting which provided me with a relationship both to the singularities of various forms but also their modes of distribution. In simple terms I was sensitised to the vibratory roots that give rise to the play of the various faculties. I was gradually learning about spacing, intervals, drifts, presence, absence, signification, intensity, gesture, process and rhythm. Each of these elements relate to schema or the resonance of the working of the imagination discovering a relationship to language. I think that all art begins in an obscure region where schema and breath start to coming.
As a trans-medium artist, I have to be sensitive to differences within forms. Music as a form is for me both more abstract and emotional than painting but painting opens out the possibilities of playing within the in-between of analysis and sensory discharge. I think that gradually I have needed to find a third space within this difference and that is performance, which is another way of existing on the edge of time. We are simply required to invent a relationship to the yet-to-come by drawing on the memory forms that are inherited through examining the artefacts of the past. As artists we both seek a renewal of traditions but also its rupture. We are simply passing through form in order to yield with time the dispersal and renewal of new forms organised as force.I seek to draw new lines and create encounters with the neutral sphere of becoming. I am not invested of this or that but its passage of excess which is the source of the future.
- Royal Academy of Music MA, London; Royal College of Art MA, London
- La Rondine (The Swallow) an opera by Giacomo Puccini played role as Lisette,working with Director : Johnny Ramster, Conductor: Gareth Hancock at Duke's Hall, London, 2016; Curator of 'Flower Art Works' Zero one, Beijing, China, 2016; Mozart recital in Central Conservatory of Music in Beijing, 2016; Flight, English opera music by Jonathan Dove, played Role as Controller working with Director: Bruno Ravella , Conductor: Gareth Hancock at RADA Studios in London, 2016; Contemporary ensemble concert as a soloist working with composer James Warwick at King's Place, London 2017
- Briderr les Frontières; Glaerie Joseph Saint Martin, Paris,France, 2018; Aesthetic Feast; La Galleria Pall Mall, London, 2018; Experiment music + Art performance, British Museum, London, 2017; Art performance ‘Fist ’ Berlin Atonal, Kraftwerk, Berlin, 2017; Visual projected Simple Things EXT, IMAX Theatre, Bristol, 2017; Sound installation and performance, Lychee One Gallery, London, 2017; Closeness, Lychee One Gallery, London, 2017