A Song for Staci
Installation process at Falmouth University, graduate exhibition 2021
The composition presents the artist’s exploration regarding how the linearity of experience and the sequence of images shapes recognition. In this exhibition, he used a broad range of media to document elements of Cornish landscapes that he has been immersively experiencing. The artist displays the idea that roads as the sequence of going through national narrative, material as carriers that not only the history but also newly assigned meaning embedded in, these elements substantially influence the depiction as well as the interpretation of landscapes, and their superstructures. The composition of individual “summarised elements of visualised concepts” allows him to nudge a few fundamental components of the grand narrative, “Cornish landscape”.
Despite the series had been presented, and will be exhibited in various compositions, the artist insists this particular one is the most ideal curatorial approach of the project. Hoovering paintings seemly isolated from each other but recreate the immersive exploration for audiences. Apply with the image book The Fantasia on Entropic Sea Songs. Either start with the natural process of oxidisation, which suggests the linearity of time, or on the fatalism of the universe, the Cosmic Wind, the extension merges at Virgin in between Rocks, which symbolises the irrational rationalisation process of knowledge beyond recognition that summarises irregularity to abstract concepts. The composition encourages visitors to discover their own sequence/experience of space by associating pictorial depiction with their own understanding of the land (The show was firstly exhibited in Falmouth, Cornwall); regardless the direction of looking, themes of three wall-hanging paintings cannot be escaped; liberty of quitting thinking, rethinking and thinking harder is granted to audiences and allows them to drift freely in the Sea of Entropy.
Perhaps a panoramic gaze, like Peter Lanyon and John Denver had done for their enthusiasm and deep love to landscapes, is the answer to all unaddressed questions here. Even though, our brains are biologically determined to think linearly. This is the artist’s hatred of the ignorance and arrogance of humans, including himself.
Final work list
Circle depicts the process of rationalising unexplainables; the artists imagined himself as a developer of a primitive religion, he then painted a circle of trail to describe the acknowledgement of a mysterious mechanism, and how this mechanism can be confined in an abstract concept, "worshipping a circle for more".
Circle, mixed media on canvas, 2020
Inspired by astronomic photo of Pluto )also I found the rationalization of the subject which re-categorized Pluto is very fascinating)
“Perhaps material matters projected from the singularity, at the very moment fundamental forces disunited, has determined the environment, external stimulation etc we received and hence the Fatalism.”
Cosmic Wind, mixed media on canvas, 2020
Inspired by china clay mining industry and its seaway transportation - usually through Par, to the commercial world. The turbid liquid, the liquid, the emulsion, metaphors to describe material culture, immaterial culture and -in my opinion- social groups.
Dissolve, mixed media on canvas, 2020
Think about this, how many cultural product we produced, how many pantheons have been established on because of a giant pile of rock happens to be 380,000 kilometres away? What are we really celebrating?
[jump out then take THE look]
Tide, mixed media on canvas, 2020
An unstoppable natural process.
Erosion, mixed media on canvas, 2020
About how human extract natural materials from the environment, reform and reassemble into the means we need.
Extraction, mixed media on canvas, 2020
Translating the visualisation of the process of rearranging unorganised element to an illustration of depicting abstract concepts.
Quarry, mixed media on canvas, 2020
"Was macht ein Klischee zum Klischee?" The abstract form, the true essence of landscape, the famous artist in town...I still want and always want to talk to Lanyon, perhaps also John Denver. I have the same desire of detaching, as if from the above the wish of seizure can be expressed and satisfied. A gaze onto the landscape where there is no need for justification (can landscape justify for itself), the gazer is also a listener. What do we search from above?
Glide, mixed media on canvas, 2020
A fundamental force that distorts; a background, a precondition and catalyst to everything.
Gravity, mixed media on canvas, 2020
Perhaps it’s the only destination of this voyage, for us as human. Inspired by the salt marsh of river Hayle.
Oxidisation, mixed media on canvas, 2020
A symbolic natural heritage - a natural heritage that becomes a symbol.
Heathlandish Stride, mixed media on canvas, 2020
Shellbeach is inspired by hull paint, sea salvaging, ecological crisis and the maritime war/colonialism history of Britain, despite it is a reflective practice on Cornish landscape. It is quite hard for someone who comes from a country with a vast territory that each inch of the coastline is actually the frontier of the nation. "From coastlines, Briton comes" sometimes could be looked the other way around.
"Like brightness and darkness, land and sea are opposite. The shore is where they mingle. The shore is where Ivory-White cliffs are slowly formed by gentle weathering; the shore is where waves splashing themselves over broad beaches. A shore could be an epitome of a length of coastline.
For a nation that was established upon 19,000 miles of coastline, Britain is tightly connected to the sea. Ocean currents brought the infinite amount of fish to its fishers; strong Northern sea wind tested the will of survival of its people through thousands of years; oceanic water cycle makes the air humid enough to form rain clouds so that its farmers can water boundless wheat fields and hop plantations. Thousands of invasions marched inside Britain through its coastline; somehow her people can always find a way to defeat their enemies. The coastline may not be the start point of invasion, but it is always where her foe retreats; it is always where new eras begin. When the first expedition sail that Britain sent appeared on the horizon of the channel, the coastline has become the symbol of treasure and the hope of survive. Britons came through its coastline and conquered half of the world. Uncountable sails linked together from near to the distance like snowfields. The romance of the voyage did not die with the end of the Great Sailing Age; a brand new coastal culture has dawned. The ocean-related culture is what attracted me to spend years of time in Britain; now it is my turn to introduce such maritime charm.
The project will demonstrate a personal understanding of the connection between the coastline and British culture. Seascapes, landscapes and daily scenarios will be engaged with a great interest in producing a significant amount of graphic-based works. From the storm that freaks out seagulls and inks the sky, to the golden reflection of summer's sunshine that sweet enough to melt every lover that walking along the pier; from the old battlefield of Hastings, explorations of Northern border of England, a walk towards Marazion. I am not born British, and I know I do not belong to the United Kingdom just the same as every indifferent local believes; the love to the English coastline and all of its romance is true."
There was a magic about the sea. People were drawn to it. People wanted to love by it, swim in it, play in it, look at it. It was a loving thing that was as unpredictable as a great stage actor. It could be calm and welcoming, opening its arms to embrace its audience one moment, but they could explode with its stormy temper, flinging people around, wanting them out, attacking coastlines, breaking down islands.
- Cecilia Ahern
Shellbeach, mixed media on canvas, 2020
Inspired by invisible traces of Anthropocene human left in the nature.
Containment, mixed media on canvas, 2020
(I am thinking of you), the goddess of sea, the goddess of water, the goddess of vacuum, the guarding spirits of coastlines.
Voyage, mixed media on canvas, 2020
Inspired by sea remnants after tiding. Shipwrecks, moorings, detached materials and sea plants.
Remnants, mixed media on canvas, 2020