Wang Haiyang 王海洋
"The Birth of the Word, to the Demise of the Bird"《从一本书开始到一只死鸟结束》, 2014-2018
single-channel video 单频道录像
50 pastel works on sandpaper 50件砂纸色粉
50 pastel works on sandpaper 50件砂纸色粉
1'32'' 1分32秒
29.5 x 44.5 cm each (framed)
砂纸色粉每件含框尺寸 29.5 x 44.5 cm
29.5 x 44.5 cm each (framed)
砂纸色粉每件含框尺寸 29.5 x 44.5 cm
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The Birth of The Word to the Demise of The Bird is an artistic effort commenced in 2014 as a series of pastel works. The manipulation of language is at...
The Birth of The Word to the Demise of The Bird is an artistic effort commenced in 2014 as a series of pastel works. The manipulation of language is at the core of this work as the semiotic and linguistic connections between the characters move the plot along in a visual wordplay of double entendres.
The work is a sequel and extension of Haiyang’s artistic fantasy that materialised in former animations like Double Fikret (2012) and Wall Dust (2016) where Haiyang used his surroundings and everyday reality as starting point of inspiration. This time his vision breaks a new frontier as it latches to even more surreal scenarios where the medium of animation is a revolving mechanism that is free of beginning and outcome. There's only an obsession-like force pushing the plot along, which causes regeneration, substitution, disruption/disintegration, construction, circulation and chain reactions to occur between different objects.
The animation format concedes unlimited visual possibilities as Haiyang allows the magnetic attraction between the visual elements to orchestrate his creative free fall and dictate the direction of the storyline. The way Haiyang navigates the unpredictable variables that spring up during his creative process becomes itself an additional layer to the work, a performance art of purposeful randomness.
The work is a sequel and extension of Haiyang’s artistic fantasy that materialised in former animations like Double Fikret (2012) and Wall Dust (2016) where Haiyang used his surroundings and everyday reality as starting point of inspiration. This time his vision breaks a new frontier as it latches to even more surreal scenarios where the medium of animation is a revolving mechanism that is free of beginning and outcome. There's only an obsession-like force pushing the plot along, which causes regeneration, substitution, disruption/disintegration, construction, circulation and chain reactions to occur between different objects.
The animation format concedes unlimited visual possibilities as Haiyang allows the magnetic attraction between the visual elements to orchestrate his creative free fall and dictate the direction of the storyline. The way Haiyang navigates the unpredictable variables that spring up during his creative process becomes itself an additional layer to the work, a performance art of purposeful randomness.
