Qing Jiao Jiao
Solo Exhibition: Body Orientation & Relationship
Place: Shangyuan Museum of contemporary art, Exhibition hall, Beijing, China
Portal to a world behind the art works
Body Orientation & RElationship
Exhibition review by Irina Ideas
Body’s orientation is a topic that goes deep into the plane of existential sense of self, something so universal and yet just like Karma not immediately obvious because often times in life the relationship between things seem coincidental until they are so obvious and powerful that only an art form can express. Qin Jiao Jiao’s art explores the furthest corners of our minds, a line that divides between now and then, you and me, dark and light, a special type of dualism that is dancing in the rhythm of cause and effect, portraying the encounter, connections and disconnections, in this wonderful phenomenon we call reality. There is an ancient wisdom that suggests: “do not seek understanding of things but relations between things and you will understand the world”. Upon entering the world of Qin Jiao Jiao, the first physical association one has is of the corners, the edges of our habitats, the rooms in the houses, the corners of the walls, but also it is the reflection of the most inner habitat we have and that is our mind. Sometimes what we see and build around us, to accommodate our bodies reflects the internal world of thoughts, the habitat of our mind, with unlimited possibilities and iterations, just like a perpetuum mobile it never stops, this mechanism of our awareness, it is on the quest of a greater understanding of things.
Sometimes we like to call it a process of acquiring a higher consciousness as a sentient beings on a mission of building higher integrity and becoming a genuine human, one of the most important tasks. Jiao Jiao’s thinking process is touching upon these topics very strongly, with the focus giving priority to the form over color, she brings out the structural elements, emphasizing on the interaction and connections between the things rather than looking at things as they are in themselves. A very good analogy that comes to mind is a helix of a human genome, because when we look at the development of understanding in the field of genetics and how only the genes of integrity get the green light to go ahead towards the next generation, we understand the depth and importance of the ability to distinguish between the white and black. In Jiao Jiao’s art the line that divides the two worlds, seems to be a compass, in a way a green light, an orientation and a road towards this invisible integrity so deeply present but yet elusively mysterious.
One can’t help but think of Karma and the subtle laws prevailing all the existence, just like the laws of physics make the planets turn in a certain way as a result of relationship with the larger objects, so are our actions as humans always in interlocked relationship of everything we do. Qin Jiao Jaio is pushing the boundaries and exploring the world of action and reaction, this very balance. Sometimes the gravity is so strong on one side of the painting that the other is barely able to keep the balance, but it does, it has the ambition to keep afloat. At other times the balance between the sides is so strongly self reflective that the outside reality, the gravity of larger objects has no power. There are only two sides locked in the eternal embrace of cause and effect, karmic laws of entangling and disentangling and it is a delightful experience to look at the intricate game of life unraveling on the canvas with such a strong line of thought. The spectrum of the topics in the paintings range from the highly strong, destiny like questions relating to the relationship with people to the most subtle and almost invisible relation we have with things and environment, birds, casual objects of our every day life, all of which have the most significant role in the universe no matter how small or how big.
Archimedes said: “Give me a lever and a place to stand and I will move the world”, analogous to this Qin Jiao Jiao’s collection is in that lever and the karmic compass is exactly in the line of the paintings, dividing the world and the dualistic nature of reality becomes so obvious that one can’t help but wonder about the way things are in a much deeper sense entering the level of what is it that goes behind what we see, what immediately captures our attention and what is behind it truly. There is a process of unraveling in order to get to the core and a truth, often times appearing black, white and gray.
About Qin Jiao Jiao
1984 Born in Huanggang City in Hubei Provinceï¼ŒChina
2006 Jiamusi Art Association Member
2007 Graduated form the University of Fine Arts in Jiamusi
China and Korea Art Association Member
Living and working in Guangzhou
2014 Artistic conceptionâ€”â€”Chinese 2014 Dubai Art Exhibition,Dubai
â€œThe direction of the bodyâ€—-The solo exhibition by Qin Jiaojiaoï¼ŒBeijing
Breeze/Landscape: Invitation & Exhibition of Shangyuan Artistsï¼ŒBeijing
2008 99tentsï¼Œ99dreamsâ€”â€”About artistic Beijing the artistic area periphery untoldsï¼ŒBeijing.
Deep Breath–Chinese Modern Oil Painting Exhibitions.
2007 â€œThe dream of greatness â€the oil painting art show by Qinjiaojiao ï¼ŒHeilongjiang.
The China art festival youth unfoldsï¼ŒGermany.
Link iron temple fairï¼ŒBeijing.
99tentsï¼Œ99dreamsâ€”â€”About artistic Beijing the artistic area periphery untoldsï¼ŒBeijing.
2006 â€œThe oil painting exhibition by Qinjiaojiao Heilongjiang.
2005 Jiamusi Universityï¼Œâ€œthe commentary-literature and art exhibitionï¼ŒHeilongjiang.
2004 Jiamusi Folk Art exhibitionï¼ŒHeilongjiang.
It is interesting to observe after I have spent a certain period of time in China, the sense of dualism was very much on the surface compared to the Western side of this civilization where dualism plays a very prominent role. The sense of right and wrong, ever prevailing never ending battle field between the good and bad, and yet it is an integral part of both sides of the world. Each individual comprises of these two opposing poles, constantly pulling and pushing, the complexity of interaction gets on an entirely new level when we transcend this onto the relationship between people. It is only then that we comprehend that the world is not comprised of black and white, left and right, inner and outer, but eternal gray in which the black and white pulsate in the rhythm of destiny.
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.