SHI MENGXIA 石 梦 霞

Displacement is a kind of deconstruction and reorganization, and only on the premise of breaking can new things be rebuilt. I invite a fashion designer to collaborate costume and 4 performers from different fields with different identity characteristics to made a performance show.  In different fields, they are faced with similar difficulties and bottlenecks. The transformation of artists or other creators is an interesting phenomenon, and the process of mutual factors of personal fate and environment has social research meaning. 

Through the main form of "displacement", broke and reorganized the paints, shirts and facial features of the models, so as to discuss the continuation and transformation of personal identity. This is also a common  

choice and confusion faced by younger generation

Moved Paints in Cities (2020) is based on both the location of my studio, and my practice. There are 60 paintings in my studio. Every painting's acrylic paint moves out from the center of each of panel planes, and out of my studio into the city. Each one is marked with number, the date, the distance from my studio.

Emphasizing the materiality of each work, additionally, I aim to provide unfamiliar ways to perceive works for viewer, and discuss the ontology of art through the absence of part of the artwork. In addition, I try to break the boundary between art and life as well as the commodity attribute of art.

 The colored square as a unit moves from the thick wooden frame plane to the space outside the art realm, blurring the boundaries of the artwork. In addition to challenging the function of frames as defining art, this work also challenges what constitutes a painting. Traditionally, the four edges of the frame limit the plane of painting. By contrast, in the Moved Paints Series , painting controls and defines the wooden boards in the three-dimensional space. Working from the basis of the color plane moving onto three-dimensional objects, I expanded this idea into a series, turning individual works with the studio space itself into collective, three-dimensional works. 

Much of recent work has been about the relationship between reality and fiction and has attempted to challenge this established definition. I was inspired by the fantastic sensory stimulation of modern city life. The parallels and interaction between nature and electrons are a Binary that have been broken down, which deepens my thinking about contemporary life.

These works discuss my perceptions and thoughts of the reality and the illusion, which distilled from the chaos of real life. These objects with personal resonance and reflective materials discusses my personal uncertainty and doubt about the truth.

The Sky outside the Window is a work about the replacement of opposite concepts, vertical and horizontal, private and public, inside and outside. The Elegy， a mirrored box with an aging apple built in，is about the cycle of time, life and death. Repeated observation is the repetition and replacement of light bulbs of different colors, controlling that the viewer can constantly position to remove the perception of what is real.

I Want! I Want! I Want! (2020) is a city micro made by these packages of gorgeous dreams and cheap boxes. The red light from the Windows was also a symbol of warning and danger.

To most young people, the concept of the city is most immediate and familiar. The expansion and development of cities nourish the rising aspirations of young people and create a myriad of changing and blending scenes. This high concentration of energy is epochal. We can smell danger in the hustle and bustle of life. Matter is tangible, as in I Want! I Want! I want! The disappearance of the goods in the box is also my suspicion of material things, while certain related anxiety emotions are more like invisible but existing entities, the existence of binary opposition between visible and invisible can be understood as the opposite from my deeper understanding.

The projector scrolls through a number of images that are negative versions of my hand paintings and projected on reflective films. The light of images are reflected in the room. Viewers can immerse themselves in the interaction and gain a new visual experience. 

This work incorporates uncontrollable factors. The fluctuation of each pattern is closely related to the weak airflow brought by the audience when entering the installation space. After two refractions, the patterns on the wall are varied, with lines skipping, colliding and intersecting. This is no controlled or expected by anyone person or artist. The change is subtle, euphemistic and gravity-free, without causing psychological stress. This kind of slight interaction between people and works creates a romantic and poetic atmosphere, which can deepen the visual and psychological impact on an audience.