An Introspection into the ˇ§Scissors seriesˇ¨
Mao Xuhui
Since 1998, I have gradually given up emotional engagement in my work, and instead a sense of calmness and detachment has emerged. This, in the fist instance, is a transformation of the inner self. In contrast to the need for passion and bitterness in the 1980s, this present detachment and coolness seem to suit me better. At this stage of my life, I have little to squander. For the sake of my health, I have given up drinking. Over the past few years, alcohol has infused many moments of craziness.
Strictly speaking, things of the past do not disappear, that is the past has marked my psyche. On the surface, the past may not manifest itself, but deep within it has become a part of my fabric. Here it undergoes a metamorphosis to emerge in another form. To be honest, when looking at the changes of style in my work, I have simply changed my outer garments.
In my current work, I have eliminated previous habits of expression using heavy colour and dense textures, my brushwork and knifework now reflecting the ˇ§as isˇ¨ state of the objective world. However, as for image and style in painting, I have retained the same perspective as in the past. I now use softer, subtler colouring and finer techniques. But just as in my past intensity of attitude I am in fact only trying to give prominence to the image. The differences lies in that the current paintings do not seem oppressive on the surface, but the image still stands out. By treating the image with detached coolness, I feel the image is even sharper.
A pair of scissors ˇV a daily necessity used by everyone. Nowadays, I frequently use them in paintings just like others use faces or bodies. To me ˇ§scissorsˇ¨ are more amenable to be pressed into different shapes for visual impact. When I started to paint scissors (probably in 1984) it was a stage in creativity; in other words, I was treating them as a variation in the intentions of the ˇ§Patriarch Seriesˇ¨ (1989-1992). The ˇ§Patriarch Seriesˇ¨ was about the issue of authority expressed through a daily necessity ˇV a pair of scissors ˇV indicating that this force is omnipresent, even in everyday life. Sometimes, I used the scissors as an unusual symbol, pasting it onto different scenes in real life in order to express feelings of indignation and disquiet. Having gone through this phase, I no longer think about authority when I paint scissors; rather I focus my attention on the form of the scissors. The image of a pair of scissors suggests function. In fact, I now think it is not important to discuss what they (the scissors) are going to cut, but what feelings are generated ˇV their significane, the meaning of shape ˇV through style and not literal effect. I am not actually painting scissors, but rather the image of scissors.
I often overlook scissors as a part of everyday life. The ˇ§Scissors seriesˇ¨ no longer has a specific implication. I have let go of my own personal view. What remains is an empty vessel. Once you have cast aside your own point of view, it is easier for others to enter into your realm. All contemporary art seeks to create a realm that can be shared by all. With this concept in mind, I think artists should sometimes hold themselves back.
Experience shows that a pure, clearly defined image can generate complex ideas. These ideas come along whether they are intended by the artist or not. It is always like that: clearly defined objects can produce ambiguous concepts; the simple is just another aspect of the profound; meaningless becomes meaningful. Isnˇ¦t this what a lot of effort in contemporary art is all about? |
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