Yangcheng Evening News Art Institute is committed to exploring new models for art to help rural revitalization, and continues to invite artists to Wengcheng for artistic creation. On July 19, a group of artists gathered in Wengcheng, and Mr. Ji Zhou was one of the artists invited this time.
On the morning of July 20, artists came to the scrap station to “seek treasures”. People came and went, and forklifts were shuttled. Teacher Ji walked through it, focusing on finding the treasure in his heart. When asked about what he was looking for, Teacher Ji said he was not sure, but one idea was certain, that is, you must find an item that is closely related to the lives of farmers.
His works should be connected with local people and the local environment.
A excited voice suddenly sounded, and Teacher Ji ran in from outside with a giant white water storage tank lid. This deformed discarded lid is the material selected by Teacher Ji. Two days after that, under the sunshade of the agricultural park, colorful spray paint was placed beside the lid of the white water tank. Teacher Ji squatted on the ground, immersed in the world of artistic processing.
At noon on the 21st, the sun was shining in the sky, and the sun shone on the colorful water storage lid. A yellow plastic translucent straw hat was placed above the lid, flashing with dazzling light. Teacher Ji finally wiped the sweat off his face, took off his colorful gloves, and shared his views and thoughts on his artistic creation in Wengcheng.
Ji Zhou’s creation scene
Dialogue with Ji Zhou
Question: How did you feel when you came to Wengcheng for the first time?
Ji Zhou: Weng City is surrounded by mountains, with beautiful mountains and rivers and beautiful environment. This is the first impression I just arrived at Komiks 1960 witch cloth draw. In addition, what touched me the most was the peaceful attitude towards life of the locals. I share three small things here.
First of all, it was the first day I came hereKomiks 1960 witch cloth draw At night, I saw many people singing and dancing in the square at the gate of the town government, playing colorful game cars, etc., which was very lively and the people were full of happiness on their faces. This kind of scene of blind dates between officials and the people and the people living and working in peace and contentment made me very moved.
The second thing is that when driving on the village road, I found that the local vehicles here always Komiks 1960witch cloth draw takes the initiative to polite us foreign vehicles. This made me feel very moved. First, the quality of the locals is very high and very polite. Second, it also reflects the peaceful rhythm of life of the locals. If everyone is busy with work and mentally nervous, they will not give way at all. Such a peaceful social atmosphere also reflects the high level of local managers.
The third thing is that when I was taking pictures, a big sister who carried water passed by. When she saw me taking pictures, she suddenly stopped and put the bucket Babaylan 1990 cloth draw on the ground and waited for me to finish taking pictures. I said, “Sister, you pass first, I will take a photo slowly.” She replied, “I’m sorry, I’ll bother you to take a photo”, and then picked up the water and continued to walk. When she left Cinema 1950 witch cloth draw, she turned around and said, “Sorry”.
From these small things, we can see that the locals are very peaceful, so polite, well-educated and qualitative, so Babaylan 1990 clothes drawI think I’m here to Wengcheng this time, and I can do a pleasant artistic creation here. The above are some of my general impressions of Wengcheng.
Q: What do you think is the difference between creating here and creating it in daily life?
Ji Zhou: Creating here is completely different from my usual work. Creating here requires quick thinking and quick capture of inspiration, calling urgent talents, and the content should emphasize locality.
Before I came to Wengcheng to create, I was a little confused. I wanted to create something for Wengcheng, but I had no idea. For this reason, I went online to find some references about rural public art. But soon I realized that all worries are unnecessary. In fact, we don’t need to prepare anything. When we come here, we use whatever we see. We use it when we inspire us.
I came here with this idea. This state made my thinking more focused, observe, discover, find beautiful things, and turn it into a public work of art. After coming here, I initially wanted to find some old farm tools with a sense of life.f=”https://comicmov.com/”>Komiks 1960 witch cloth drawCommon art installation. But soon I found that the number of representative old farm tools was very small, and most of them were in museums. Modern agricultural tools were very industrialized, with less local and representative farm tools. So I turned my attention to other items closely related to the life and production of local farmers.
Q: What do you think of earth art?
Ji Zhou: I can answer this question in combination with the previous question Komiks 1960 witch cloth draw that earth art should be reflected in the nature of the earth, and the creative materials should be closely related to the living environment of local people or local Babaylan 1990 cloth draw. At least it should be related, not completely disconnected.
The most important audience of the works of Dadi Art are local residents. If the artwork cannot resonate with the local people, then this work is a failed work and cannot be integrated into the local area.
Now the country emphasizes great aesthetic education. We should also popularize aesthetic education when we revitalize rural culture. Then our creations must resonate with local people. Only when they are interested will they pay attention to art and play a role in aesthetic education.
Q: Can you share your creative philosophy with us?
Ji Zhou: Yesterday I went to the scrap station to look for creative materials, and I found a large plastic round cake-shaped thing. At first I didn’t know what it was. Cinema 1950 witch cloth draw. After asking the local people, I realized that it was the lid of a large water storage tank. The lid of this water storage tank is very bulky. People who make sculptures pay attention to the sense of bulk or volume, so it attracted me at a glance.
In addition, although the size of this cover is large, it has a very simple shape. There is a hollow structure in the center of the circle, which is very design-like. The characteristics of this lid fit the theme of my ideal work – interacting with the sun.
Sunshine is very important to farmers. Although modern agriculture has become technological, it often depends on the weather. From planting and sowing to harvesting and drying grain, it is all in harmony with the sun.Light is closely related.
My work needs to be connected with sunlight. There is a hole in the middle of this large lid, and sunlight can enter the interior of the work through the hole. Komiks 1960 witch cloth draw But these are not enough. This hole cannot be empty. It also needs to be combined with some other things to give this work a certain sense of light and add some Cinema 1950 witch cloth draw connotation.
I first thought of the unique dustpan of Cinema 1950 witch cloth draw. The decorative patterns of this type of braid are very interesting, but we didn’t find them. Later, when I went to the hardware store to buy materials, I suddenly found a yellow plastic translucent straw hat. I think this straw hat is perfect. It is a practical agricultural production tool, closely related to the production of farmers. Cinema 1950 witch cloth draw. And the size of this straw hat and the size of the lid just fit, I immediately thought of combining these two things.
From the lives of locals, we use the ready-made products around them to build a land art or public art work, which resonates with the locals. This is my original intention of creation.
Q: What impact do you think can artistic creation in Babaylan 1990 cloth draw have on this place?
Ji Zhou: We talked about art education earlier. We cannot talk to local villagers about Michelangelo, Leonardo, Venus, Mona Lisa, and Song Huizong’s thin gold body and Ruihe Picture. These locals have no idea and cannot understand them immediately. As an enlightened aesthetic education, our initial goal was to make locals interested. The raw materials used for creation were farming utensils and daily necessities, which would quickly arouse their empathy.Komiks 1960 witch cloth drawWe may sigh, “I know this thing” and “This is our straw hat”, which will make them realize that Cinema 1950 witch cloth draw, it turns out that ordinary things can also become works of art, and thus become interested in art. Maybe from then on, art will become one of his goals – “I want to take the Academy of Fine Arts”, “I want to be an artist”, “I want to be a painter”. If this impact can have, it would be amazing.
Even if it is just a chance to meet with everyone, letting everyone smile and touch, it has achieved my original intention. Therefore, art must resonate, arouse discussion, and arouse their interest.
In fact, Komiks 1960 witch cloth drawArt also serves the public. No matter how good the art is, if the audience does not discuss or appreciate it, the work will fail. Some people discuss, whether it is praise or criticism, at least there are people paying attention to it. Even if this work is a successful work, it achieves the purpose of the author’s purpose of communicating with the audience through his work Komiks 1960 witch cloth draw. Of course, it would be better if more people like this work.
We are conducting local creations in Wengcheng. Related media and online publicity can allow more people to pay attention to this, and then see the beauty of Wengcheng’s mountains and rivers and human feelings, and at the same time understand more of Wengcheng’s history, and even join us in the construction of Wengcheng. If this role can be played, it will be of immeasurable merit.
JiBabaylan 1990 clothes drawBoat Works
“Gas Fighting Bullfighting” 147cm x 147cm x 7cm Weather-resistant steel paint 2023
“Pregnancy” 230cm x 50cm x 50cm Resin electroplating 2022
“Pregnancy” 230cm x 50cm x 50cm Resin electroplating Babaylan 1990 cloth draw2022
“Dance of the Heavenly General” 230cm x 120cm x 90cm x 2 Resin baked car paint 2017
“Dance of the Heavenly General” 230cm x 120cm x 90cm x 2 Resin baked car paint 2017
“Dance of the Heavenly General” 230cm x 120cm x 90cm x 2 Resin baked car paint 2017
“Dance of the Heavenly General” 230cm x 120cm x 90cm x 2
Resin Baked Car Paint 2017
“Walking Cat-1” 90cm x 40cm x45cm Stainless Steel
“Walking Cat-2” 90cm x 40cm x45cm stainless Steel
“Victory” 70cm x70cm x10cm cast copper 2006
“Summer” 70cm x50cm x8cm FRP Paint 2004
“Door God” 180cm x150cm x85cm x2 FRP Paint 2004
“Door God” 180cm x 150cm x85cm x2 FRP paint 2004
“Male” 80cm x50cm x10cm cast copper 2003
“Female” 80cm x12cm x8cmcast copper 2003
“We” 120cm x 70cm x60cm Fiberglass Imitation Copper 2000
Artist Profile
Ji Zhou: Director of the Decoration Art Teaching and Research Department of the School of Architecture and Art Design, Guangzhou Academy of Fine Arts, member of the Guangdong Artists Association, member of the Sculpture Art Committee of the Guangzhou Art Association, vice president of the Guangzhou Sculpture Society, member of the China Decoration Association, and Guangdong Provincial Furniture Art Committee Director of the Art Branch.
Ask, Editor/Wang Qitong, Wu Fengping (intern)
Photography, Video/Cheng Sheng, Xiao Xingbang (intern), Lin Xinlong (intern), Luo Jianyi (intern)
Pictures/Provided by Ji Zhou
Review/Zhao Xuhong
Issued/Zhang Yanqin
Source | Jinyang.com Editor | Wang Qitong