The Dimension of Double Images

This exhibition, entitled “The Dimension of Double Images”, aims to bring to focus “a new mode of artistic expression”, i.e., to highlight the correspondence between two different facets of the same image by means of a single image, double images or multiple images, so as to reveal the complex and flexible forms the image takes on in space and time, in the real world and the virtual one, in reality and imagination… The artists review the changes on the level of human beings, events, and objects from a philosophical perspective—rich codes, social, historical, cultural and ideological, constitutes our colorful world. While a man lives in a world (society), he probably resides in his or her imagination of the relationship between human being and the reality of the world. The inviolable rules and conventions, as a potential force, get a strong hold on what people do and what they think. In an age of pluralism, man, events and objects become fluid, and, by changing their forms (images) all the time, interpret the complexity of co¬existence of the real and unreal, the true and the false, the good and the bad. As an individual, the artist is no exception, hesitating between these images and sometimes even going beyond these representations to explore the genuine state of their existence and their extending dimensions. The artists born in the 70s and the 80s are facing China in rapid transformation and in an age increasingly pluralistic, which offers unique features of knowledge acquisition, patterns of thinking and observation, cognitive pattern of past experience, changes in personality and role, and formation of value system. The duality and flexibility of man, events and objects in the form of double¬facet, gets incorporated in the artistic creation. It might be connected with real life, or be found in imagination, fantasy, memory, and dream, mixing sense with sensibility, the inner world with the outer, sarcasm, humor with empty talk—the same perspective, but different ways of expression, represents the rich and truthful picture of modern man, the elements, and tempo of his life. While man, events, and objects all take on complicated and changeable looks as a result of multiple feature of cultural information, advances in science and technology, the popularity of cyber space, symmetrical production, such as copy, clone, and reproducing break into our eyesight at a high speed as a fashionable taste. Chinese culture always values pairs and their correspondence and contrast, as is obvious in such phrases as “cheng shuang cheng dui” (pairs and couples), “hao shi cheng shuang” (Good things comes in pairs), “shuang xi lin men” (happy events come in pairs), “yi yang yi xu” (excess and insufficiency), “yi xu yi shi” (real and unreal). This tradition can be easily identified in art as well, such as characters, paintings, music, and in articles for everyday use, such as door gods, couplets, pledge of friendship or love, and the like. Moreover, it can be applied to both enormous existence as the cosmos and the far less visible man, events and objects, which, complex and changeable themselves, relate themselves internally o externally to another in pairs, and harmony and symbiosis are thus achieved. It seems to be a philosophical concern that “couplet” exists and takes place in a limitless fashion, no matter in the past, the present or the future. The arrangement of man, events and objects into a paired painting is itself an interesting and strongly eloquent language, which gives multiple dimension in terms of time and space to what the artist sees, hears, thinks, imagines, fantasizes and dreams.