Wang Haiyang resumes his animation work with Wall Dust, following Freud, Fish and Butterfly (2009) and Double Fikret (2012). Whereas the two previous works reflected upon the artist’s studio practice, in which the visual elements pertained to and were inspired by everyday life, Wall Dust throws the recurring character of Fikret into a grand genesis setting.
This collection of grand scenes, minute cells and mucous membranes are freely collaged and edited together, forming shapes that remind of Giuseppe Arcimboldo’s vegetal faces. For this instalment/animation work, the artist appropriates religious compositions, biological or chemical imagery in the attempt to delineate an unknown transcendental space. In the last scene, Fikret is finally played by a person, staring at drawings of eyes that rupture into unknown spaces.
