Video Link of the exhibition: In the Gallery | Porcelain pieces and the consumer culture
W.ONESPACE is delighted to present the second volume of the “n.one in a million" unparalleled collection series, and is honored to invite artist Hong Hao as the featured host for this volume.
As a unique venue that bridges the gap between ancient and modern art forms, W.ONESPACE is able to invite different art practitioners to present a view of themselves that is not viewed from a "single perspective" and their own unique aesthetic interests. In the “n.one in a million" project, all the presented works and collections have no priority, no distinction. We expect the project to give the audience a realistic understanding of how the artists' habits influence their creations, and how their creations are integrated with their lives - through a "real-life" scenario, we can put aside redundant explanations of contemporary art, ancient art, and any other art form, and see the story behind the art from a perspective that can be perceived firsthand.
In this exhibition, we will present different series of works by the artist Hong Hao in recent years, and by visually presenting part of the original state of his studio, we will explore the artist's conception and consideration of humanities, materials, matters, collection, and consumption behind his creation. If we really need to mention the word "collection", then Hong Hao is more like collecting his own life. From the initial "Selected Scriptures" to the most representative "My Things", and gradually evolving into the series "Everchanging Appearance", "Reciprocating", and “The Realm of Matters”, Hong Hao has developed a peculiar art form of self-consciousness, in which he collected and arranges the informationof our time and daily objects from his life, and always maintains this observation and reflection on the established objective existence. However, from the artist's perspective, collecting is not his purpose, these acts are more like a running account of his life, the artist only tries to present a sense of evidence, an objective restoration.
In the "The Realm of Matters" series, the artist's research object turns to ancient materials, so there are stacks of porcelain shards in the studio, and the precise classification and meticulous placement is astonishing, but Hong Hao himself is not convinced of his
"obsessive-compulsive" ability to organize, laughing that "it's just for the convenience of the work.” In his view, the ancient fragments as materials in the present represent only the consumption concepts of people in different contexts. Rather than the objects themselves, he focuses more on the creative concept reflected in the works, which contains his creative process, personal perceptions and reflections on the intention of consumer behavior.
As an indigenous material, the "porcelain shards" symbolize and reveal the "past" time and the ancestors’ consumption concept of in a fragmented form. The artist crosses the limits of time and space, collaging porcelain shards from different eras in one place, giving them a "secondary value" in a contemporary context, and linking different forms of consumerist culture in ancient and contemporary times. In terms of material selection, porcelain shards are an incomplete form of objects that can instead sectionally present the daily aesthetic paradigm and real lifestyles of civilians to the royalty in ancient times, and their given popular functions and constantly evolving iconic shapes also reflected the consumer culture in the historical context at that time and served as a "symbolic" specimens of the material evidence. Hong Hao precisely classifies these porcelain shards based on physical characteristics such as color, size, shape, etc., as well as kiln, age, and region as determined by contemporary archaeological research, and relies on his physical cognition, aesthetic intuition, and humanistic judgment to create a “concerning with situation" state of creation to set shards on the canvas, either in a regular arrangement or scattered in dots. This comprehensive perspective abandons the sense of utility and commerciality of the materials themselves, and instead relies on the objects as a material medium, information relic and aesthetic consideration, thus triggering the audience's consideration and judgment of the objects’ value. In the artist's reciprocating refinement, the social meaning of "object" gradually dissolves under the intervention of human-made circular behavior, and finally returns to its essential physical form.
The artist himself takes the boundary between "gathering" and "collecting" very seriously, and is wary of having redundant ideas regarding an object other than seeing it as a creative material. Therefore, in the process of creation, he always observes, perceives and reflects on the historical information and the meaning given to each object, and then removes its "artificial label", constantly reversing the form and meaning of objects and information, and wisely arranging these objects between "useful" and “useless”, thus creating a picture of both formality and absurdity. A stack of delivery boxes is set at the entrance of the exhibition, which are objects that have not yet appeared in Hong Hao's works but are closely related to his daily life. In order to acquire suitable porcelain shards for his works, he has often searched and purchased materials of interest through online consumer platforms in recent years, and the delivery boxes have been accumulating. They bear the artist's record and discussion about daily consumerism, and are accompanied by the production and circulation of consumption behavior, which may be a kind of confusion about objects and their own experience of “as it is".
In the never-ending life of consumerism, individual still has faith and spirit. Compared to external exploration, this kind of inner seeking and enrichment of one's own soul can give the individual more stable values, and this state of self-observation and self-sufficiency will also enable one to maintain a subjective judgment. For the exploration of consumerism, as Hong Hao says, "A calm awareness of a changeless world may make one feel more at ease." Could we think carefully and find this ease from the commodity economy and hedonistic inertia?
W.ONESPACE is delighted to present the second volume of the “n.one in a million" unparalleled collection series, and is honored to invite artist Hong Hao as the featured host for this volume.
As a unique venue that bridges the gap between ancient and modern art forms, W.ONESPACE is able to invite different art practitioners to present a view of themselves that is not viewed from a "single perspective" and their own unique aesthetic interests. In the “n.one in a million" project, all the presented works and collections have no priority, no distinction. We expect the project to give the audience a realistic understanding of how the artists' habits influence their creations, and how their creations are integrated with their lives - through a "real-life" scenario, we can put aside redundant explanations of contemporary art, ancient art, and any other art form, and see the story behind the art from a perspective that can be perceived firsthand.
In this exhibition, we will present different series of works by the artist Hong Hao in recent years, and by visually presenting part of the original state of his studio, we will explore the artist's conception and consideration of humanities, materials, matters, collection, and consumption behind his creation. If we really need to mention the word "collection", then Hong Hao is more like collecting his own life. From the initial "Selected Scriptures" to the most representative "My Things", and gradually evolving into the series "Everchanging Appearance", "Reciprocating", and “The Realm of Matters”, Hong Hao has developed a peculiar art form of self-consciousness, in which he collected and arranges the informationof our time and daily objects from his life, and always maintains this observation and reflection on the established objective existence. However, from the artist's perspective, collecting is not his purpose, these acts are more like a running account of his life, the artist only tries to present a sense of evidence, an objective restoration.
In the "The Realm of Matters" series, the artist's research object turns to ancient materials, so there are stacks of porcelain shards in the studio, and the precise classification and meticulous placement is astonishing, but Hong Hao himself is not convinced of his
"obsessive-compulsive" ability to organize, laughing that "it's just for the convenience of the work.” In his view, the ancient fragments as materials in the present represent only the consumption concepts of people in different contexts. Rather than the objects themselves, he focuses more on the creative concept reflected in the works, which contains his creative process, personal perceptions and reflections on the intention of consumer behavior.
As an indigenous material, the "porcelain shards" symbolize and reveal the "past" time and the ancestors’ consumption concept of in a fragmented form. The artist crosses the limits of time and space, collaging porcelain shards from different eras in one place, giving them a "secondary value" in a contemporary context, and linking different forms of consumerist culture in ancient and contemporary times. In terms of material selection, porcelain shards are an incomplete form of objects that can instead sectionally present the daily aesthetic paradigm and real lifestyles of civilians to the royalty in ancient times, and their given popular functions and constantly evolving iconic shapes also reflected the consumer culture in the historical context at that time and served as a "symbolic" specimens of the material evidence. Hong Hao precisely classifies these porcelain shards based on physical characteristics such as color, size, shape, etc., as well as kiln, age, and region as determined by contemporary archaeological research, and relies on his physical cognition, aesthetic intuition, and humanistic judgment to create a “concerning with situation" state of creation to set shards on the canvas, either in a regular arrangement or scattered in dots. This comprehensive perspective abandons the sense of utility and commerciality of the materials themselves, and instead relies on the objects as a material medium, information relic and aesthetic consideration, thus triggering the audience's consideration and judgment of the objects’ value. In the artist's reciprocating refinement, the social meaning of "object" gradually dissolves under the intervention of human-made circular behavior, and finally returns to its essential physical form.
The artist himself takes the boundary between "gathering" and "collecting" very seriously, and is wary of having redundant ideas regarding an object other than seeing it as a creative material. Therefore, in the process of creation, he always observes, perceives and reflects on the historical information and the meaning given to each object, and then removes its "artificial label", constantly reversing the form and meaning of objects and information, and wisely arranging these objects between "useful" and “useless”, thus creating a picture of both formality and absurdity. A stack of delivery boxes is set at the entrance of the exhibition, which are objects that have not yet appeared in Hong Hao's works but are closely related to his daily life. In order to acquire suitable porcelain shards for his works, he has often searched and purchased materials of interest through online consumer platforms in recent years, and the delivery boxes have been accumulating. They bear the artist's record and discussion about daily consumerism, and are accompanied by the production and circulation of consumption behavior, which may be a kind of confusion about objects and their own experience of “as it is".
In the never-ending life of consumerism, individual still has faith and spirit. Compared to external exploration, this kind of inner seeking and enrichment of one's own soul can give the individual more stable values, and this state of self-observation and self-sufficiency will also enable one to maintain a subjective judgment. For the exploration of consumerism, as Hong Hao says, "A calm awareness of a changeless world may make one feel more at ease." Could we think carefully and find this ease from the commodity economy and hedonistic inertia?
