Trimming Eros

“Trimming Eros” 2020, oil on canvas, 165x152cm.

 

 

 

 

 

 

 

Blood Puking Series

Blood Puking Series” 2020, oil on panels, 20x20cm.
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Honeydoodoo

“Honeydoodoo” 2020, stop motion film with homemade objects.

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“Honeydoodoo” captures a lonely woman’s aimless day in a Dongbei (东北, North-eastern China) village house. During the day, time quietly freezes in between still moments. When the night falls, digital media such as TV and smartphone seduce her into cinematic lucid dreaming. Impregnated by her dreams, aborted as she wakes, she is abandoned in sobriety with familiar shapes/touches from another untraceable reality. 

 

《哈密呱呱》的灵感来源于疫情期间虚度时光,昼夜浑浑噩噩、亦真亦幻之感。
   疫情在伦敦刚爆发时, 我居家隔离实在闲得慌, 就开始做手工, 一开始用竹签做了个比较抽象的竹船或是房子,像《东邪西毒》里张国荣住的那种江湖大侠茅草屋。后来做着做着开始想家,想念东北,想念盘锦姥爷家的大炕,所以我就特别想做个炕的模型。做完了炕,不过瘾,又用纸壳箱子做了一整个东北小平房的模型。然后慢慢添置家具:今天做个折叠饭桌, 明天做个大立柜,后儿再做个绿皮海尔冰箱, 看似漫无目的, 但是很充实。再后来觉得不能辜负了做的这些物件,所以就想着拍个电影。电影要有个主人公才有趣,所以捏了个泥人,捏完之后发现她长得好像染了奶奶灰的吴珊卓。最后决定用奶奶灰吴珊卓之躯展现一种浮生若梦的日常体验。主人公的日常吃喝拉屎、玩手机是无声的,好像日子过的无味时声音都干旱了,笨拙的定格画面更增添一种空间的凝固感。这种无味的生活在夜晚被梦境打破,右手将压抑已久的激情在梦境中慌慌张张的释放,可又在梦醒时分戛然而止,像是那被左手被塞在坛子里的小蛇,激情终将被腌制。梦醒了,一泡屎急拉尽了梦留给女人的信物;肚子空了又急着吃饭,就拿出了一串压箱底的蛇一样长的秘制腊肠。

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Battersea Park Series

“Battersea Park Series” 2020, oil pastels on panels, 20x20cm; 30x30cm.
A series of work created during the lockdown of London during the summer of 2020

 

 

Red Face Bird Couple, 20x20cm

 

 

 

 

I Ate Pecking Duck Before I Visited The Ducks, 20x20cm

 

 

 

 

Picnic Spot, 20x20cm

 

 

 

 

Wan Qian 万茜, 20x20cm

 

 

 

 

Baby Feet Under Water, 20x20cm

 

 

 

 

Carnivorous Plants 2 窗边的食虫草 2, 30x30cm

 

 

 

 

Ostrich After Sex 性奋鸵鸟, 30x30cm

 

 

 

 

Carnivorous Plants 1 窗边的食虫草 1, 30x30cm

 

 

 

 

Make Out Goose 接吻大鹅, 30x30cm

 

 
 
人类本能的欲望是最纯粹的,但为了更好地适应群居生活,人类往往需要扭曲、包装、掩盖这些欲望。 但动物不同,动物的生活中充斥着赤裸裸的食欲与性欲,毫不遮掩、毫无羞耻。因为我羡慕动物的纯粹,所以我特别喜欢画动物,用动物形态来表现人类羞于的欲望, 有时候画着动物却总觉得花的是自画像。这几年画了不少禽畜类动物,不同于野生动物,家禽的食欲和性欲是受人摆控的,它们的活动空间是局限的, 它们性是被迫交配的,它们的食欲之所以会被满足是因为它们终将成为食物。最近我在伦敦巴特西公园结识了一些自由的禽类。因为疫情原因,人们只能在公园透透气,喂喂鸭子、 喂喂鸟也成了人们的日常娱乐。这些禽类被喂得膀大腰圆、羽毛锃亮, 因为没人想吃它们,所以也不怕人。 后来喂禽的多了, 他们也挑三拣四, 有的大鹅看你喂得面包小了都不屑于赏脸吃一口;有的大鹅要是吃得开心了,还会张着大嘴要更多,又贪婪又可爱。野生禽类为了满足食欲也学着讨好人类, 但它们的性和爱情是那么我行我素。常常看到公鸽子蓬起自己的羽毛假装肌肉男色诱母鸽子, 结果母鸽子一脸嫌弃的飞走, 留下公鸽子自尊心受挫,心碎在原地徘徊;也有叫不出名字的水鸟成对儿的在湖面上约会,在岸上依偎,时而亲吻彼此的羽毛。野禽太多,总会撞见一些禽类肆无忌惮的云朝雨暮,有的温情,有的残忍,但都毫无遮掩欲望的真实:自然而多元。《接吻大鹅》和《性奋鸵鸟》表达的是吃人食粮而不受人管制的野生动物为所欲为表达自己情欲时的自由与狂喜。《窗边的食虫草》是自然界的陷阱,抽象的暗示了为所欲为潜在的危险。

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sex Lego

“Sex Lego” 2020, plaster, wood, silicone.

 

“The Sex Lego” was made in response to the sexual mobility of the human body; looking at bodies through the lens of dildos and prosthetics, questioning what is the body and what is not? If we see sex as an innocent act of playing, we can perceive our body or dildos as anatomical or artificial toys. If we see sex as an innocent act of playing, wouldn’t people who make love in a non-heterosexual/unconventional way be more acceptable in this world? The sex logo gives people the opportunity to think of sex and experience body through a playful and innocent perspective.