installation and painting exhibition
Solo Exhibition: One in All, All in One
Place: Light Logos Gallery
Portal to a world behind the art works
One in all
all in one
Curator’s introduction and Exhibition review by Irina Ideas
At first there was one and then slowly or quickly (depending on how we look at things) the world turned into multiplication, from the Big Bang, the firmament of our stars to the primordial soup where the single celled organisms slowly through millions of years created a building blocks of more complex organisms. Multicellular organisms, now a dominant form of intelligence on Earth is still using and reflecting upon many aspects from this original order of progression, “from one to many”. The numbers don’t stop just at the biological entities but go further into the creation of humanity – digital world ruled by the binary order, alternating zeros and ones in the order of precision and infinite combinatorics and this exhibition is the x ray of these very topics from one to many, from many to one, reflection between micro and macro cosmos, being shaped by the environment and shaping the environment. The question of singularity with self, machines, large number of people and yet being aware of the individuality of each pin on the board, each grain of the clay, each line of the painting, each thread that proceeds and withdraws in the rhythm of life as we are given a chance to reflect in this moment surrounded by the mirror of truth.
The inside mirrors the outside many times over in the rhythm of Mandelbrot Set and yet stays unified
Upon entering the world of art by Wu Yiwen, one wonders, what is it that is so special about the imprint of one of the most ubiquitous forms we observe in every day life, and then we get the answer, in that very instant of asking.
It is the prevalence that makes this form so powerful, the repetition and uniformity as we face it every single day, the singularity of many tiny objects put together in a package and then letting them be shaped by the outside. There is a very particular type of power and transcendence in the two concepts present in this collection, one is about a singularity, something that is unique, standing in it’s own glory and at the same time the repetition and reflection of that same object/subject almost infinite number of times.
Our Civilization through history alternated between the two ideals, one was to promote the individuality, almost to a point of building a cult of personality and the other, to make the masses unified in a common goal almost to the point of losing the individual sense and becoming a part of the substance whose shape is defined by the external factors. Exactly in this way Wu Yiwen’s work touches our thinking processes, the way we see reality both as an expression of an individual cell and a part of a whole organism, the larger the organism is, the more influence it gets from the external environment and then we wonder about the balance in the world. How do we achieve the golden mean, and do we stay there or do we proceed with the pendulum from one end to another.
Wu Yiwen is touching upon this very aspect, the balance between one and many and also the interaction between the innovation (movement) and repetition (stasis). The use of colour or absence of it is also communicating about these very same elements through reinforcing the idea of reflection through the use of metal. Our current civilization is soaked in metal from construction industry, design to the space travel, each and every one of them is covered in metal either as a shield or a necessary structure, an integrity that keeps the whole together. In these pieces the use of metal evokes of the frozen moment, the time standing still, wondering at the world as it gets shaped and reshaped in it’s softness and harshness, flexibility and resistance. Those are all the shades of our perception towards the existence, the reality that surrounds us that wants to dominate and surrender at the same time.
Wu Yiwen comes from a place influenced by the textile industry and this is apparent in his work especially the paintings on paper, they hold the invisible threads of thoughts repeating many times but when we look into them from the distance we see the the lines of a newspaper, another companion of Wu Yiwen’s past for ten years. All of these aspects acted as firmaments in which the current body of art: the power of infinite repetition of one was built. The ancient saying says Repetitio est mater studiorum – Repetition is the mother of all learning, and in this collection, we witness this very concept, realizing the way of truth but also a method of learning, resonating with what we all have to go through in order to create a higher awareness of the world around.
The fact that everything around us is packaged, in most cases with the invisible material, makes us think about the invisible hand that guides the civilization forward, it sinks deep into the subconscious mind and we can only think of patterns here and there that are made with these invisible elements. Wu Yiwen explores and dives deep into the world of patterns, the most universal form of intelligence functioning, as it navigates through life, classifying and sorting the full spectrum. Sometimes this sorting wants to be exploratory so it lives through the irregular shapes almost floats and gets reflected in the other world of metallic reflection, and other times Wu Yiwen’s art works, evoke the representation of our digital reality, the infinite use of 0 and 1 as they are interlocked in the dance of calculation and expression as we witness the birth of another sentient being The AI. The question is how will our reality reflect upon an individual and many individuals when we have to think about another inhabitant of this planet, it is slowly integrating with our lives and our machines with the power to reinforce in us a unique individualism and also to make us a part of the organized and synchronized whole. The most important aspect is still in the air between all the metallic, reflective and timeless and it says something the Ancient Greek knew about: a Golden Means.
About Wu Yiwen
Born in 1971 in Pujiang, Zhejiang. He currently lives in Hangzhou and Beijing. Art practice is dedicated to the transformation of art in the context of world culture with the new aesthetic experience of industrial civilization and the information age, combining the essence of Eastern Taoist culture, Zen thought, and Western minimalism and pop art, forming the artistic point of view with both personality and collective. The artistic language of character, modernity and international perspective.
About the museum
Light Logos Gallery is one of the most prominent in Beijing specifically focused on contemporary art
The art of Wu Yiwen is a journey into the abstraction, finding singularity in multitude and multitude in singularity.
His work, as it often happens is deeply rooted in the personal experiences and in this collection among many other aspects from his life it relates to the work he has done in the newspaper magazine, editing, reading, arranging, rearranging,, focusing on the letters and numbers, the infinity within that only becomes apparent once we look at the face of it through constant repetition almost hypnotically pulling us into another world.
This other world is a reflection of our world, but from an entirely different perspective, just like when we look at the world through a microscope or when we look at time/space through a telescope, we see different dots, patterns, seemingly constant repetition and then we want to find something human in this. Interestingly enough finding a human aspect is often done through the meticulous process of pattern finding, refining, until we reach the level of spontaneous equilibrium, so very obvious in Wu Yiwen’s work..
One of the most crucial element of human aspect is in the necessity of breathing, which we observe intermittently in this collection, as if we are zooming in and out of the plane that is sometimes human sometimes it is outside of a human grasp. The most obvious reverberation of this concept happens with the sculpture,, a collection of 32 pieces, frozen in time, unified but breathing in synchronicity of symmetry, yet each has it’s own autonomy and eco system comprising billions of particles that work together to form the one as an entity..
The patterns reinforce themselves through the collection of electronic pieces, each holding 13000 piece, each having 2 pins to reflect dual nature of our existence. This collection presents a puzzle that pulls us in, sometimes we can associate it with the drama of life, sometimes it is an observation of nature that wants to claim but is claimed instead. Other times it is a geometric shape that fluctuates before our perception, almost each in the focusing number of four. A number in which our genetical code fluctuates, combines and separates.
Exploring the work of artist Hilma af Klint, with all the mystical, occult, metaphysical that she has been tapping into, indirectly going deep into the art that would have later be defined as abstract art. She innovated without even being aware of it and was was the world, unaware.
Exploring the world of Petar Lubarda, seeing through all the way to building block that the stone is
This is a story, a personal impression rather, of a great artist Petar Lubarda with his roots in Montenegro, with trunk in former Yugoslavia’s Belgrade and Paris and branches, leaves, fruits and flowers in the World. He reaches deep into the history and yet gives us something completely new, a way to look through the prism of the stone that becomes a bone that becomes a structure that becomes an architecture. An architecture of the cosmic journey that we all take on this planet becoming one with the stone that made us and at the same time we become appalled from time to time when we notice the glimpses of the core. We live in the world so dominated by the ruthless ruler called beauty that often times we live in the superficial layer that the underlying truth frightens us. We have learnt to ignore the depth to such a degree that we follow the footpath of positive psychology, from one landmark to another, to avoid abyss at any price, the abyss of the unknown that the subconscious mind knows.
Louise Bourgeois is crossing the boundaries of any of the definitions and exploring and emphasizing on the prevailing forces of the subconsciousness of the 20th century
Louise Bourgeois graced this planet with her presence spanning almost a century, during which she created a wide range of artistic pieces in different languages of materials and expression. She is one of the artists of 20th century who always came back to the psychology, self observation, getting back to the core, finding essence in the childhood memories and events.