Hard 32-1, 578.4 × 836.8 cm 2020
The paper, colored pencil, crayon, ink, and oil stick used in “Hard Palate 32-1” work together to allow the lines to wander continuously, interrupt, connect, and turn, and then lay out, absorb, clash, and cover with the colors, as if the teeth, tongue, and palate underwent a continuous process of chewing, licking, secretion, and swallowing. In another set titled “Hard Palate 20-1,” speech scrolls in black spread out, dominating the image as its primary subject. As the ink comes into contact with the paper, it flows, penetrates, compresses against and outlines the only remaining blank space, as if taking in a breath through the lips and mouth, the light slips in and combats the shadows, what is understood as light shapes shadow, has now turned into a counterattack where darkness has taken over the light. This kind of observation and imaginary connections continue to extend and deepen like diving into a cave full of stories and riddles.
Hard 32-2, 560 x 800 cm 2020
The paper, colored pencil, oil colored pencil and oil stick on paper used in “Hard Palate 32-2” work together to allow the lines to wander continuously, interrupt, connect, and turn, and then lay out, absorb, clash, and cover with the colors, as if the teeth, tongue, and palate underwent a continuous process of chewing, licking, secretion, and swallowing. In another set titled “Hard Palate 20-1,” speech scrolls in black spread out, dominating the image as its primary subject. As the ink comes into contact with the paper, it flows, penetrates, compresses against and outlines the only remaining blank space, as if taking in a breath through the lips and mouth, the light slips in and combats the shadows, what is understood as light shapes shadow, has now turned into a counterattack where darkness has taken over the light. This kind of observation and imaginary connections continue to extend and deepen like diving into a cave full of stories and riddles.
Asian Boy, 140(H)×40×45cm, 55(H)×45×4cm 2019
The sculpture can be seen as a revisit of the Cola Project (2009-2011), taking the discourse on material and economic production a step further by questioning the production of symbol and consciousness. In contrast to the overwhelming material presence of the Cola Project, “Coca Cola” is completely absent in this work either as a an object or as a visual symbol, only the intersection of the boy’s gaze and his gesture makes a vague suggestion. His face looks gentle yet emotionless, all his characteristics have been delibrately reduced and blurred to an extreme abstract level as an anonymous “Asian boy”, who can be a mere representative of the artist himself, or an embodiment of the collectivity. His identity and the (missing) item (that‘s in the process of being opened) in his hands become the denotations of consciousness produced by the viewers. The “opening” action of the boy is a release of a universal desire, it raises a question: what/who enable us to identify that desire?
Note: The text above was written by the Artist. No modification was made by COCA.
He Xiangyu
China
He Xiangyu’s art practice could be seen as a proving ground or a laboratory of materials and concepts, in which he investigates and engages with a variety of personal, social and political subjects. Grown up from a dramatic period of rapid urbanization in China, He’s practice is centered on representing or manipulating cognitive senses through transformation between different materials. He Xiangyu was named as a finalist for the “Future Generation Art Prize” (2014), and won the 10th CCAA “Best Young Artist” Award (2016) and the “ARTNET Emerging Artist Prize” (2016). Recent exhibitions include: “Facing the Collector, The Sigg Collection of Contemporary Art from China”, Castello di Rivoli Museum of Contemporary Art, Turin, 2020; “Terminal 3”, Centre Pompidou, Paris, 2019; “Tales of Our Time Film Program” (Screening of the film “The Swim”), Guggenheim Museum New York, New York , 2017; He Xiangyu’s works have been collected by a number of public and private collections.