XIAO MIN 肖敏

b. 1976 Chinese

 

 

 

 

 

 

Xiao Min, as an Asian artist, was trained as an oriental artist from an early age, and his orientalism is not only expressed in his inheritance of traditional Chinese art resources, but also in his eastern thinking. Xiao Min's works are full of tragedy, as he criticises the indifference of the post-industrial era and seeks the true meaning of life with his soft sighs and solitary sentiments. In his sadness, there is a timeless spirit that is unwilling to compromise, a courageous power of reflection, and at the same time brings people to philosophise about life and its difficulties. 

肖敏作为一个亚洲艺术家,从小接受东方艺术训练,其东方性,不止表现在对中国传统艺术资源的继承,还体现在他的东方式思考。肖敏的作品中充满着悲剧色彩,他用轻轻的叹息,独自的感伤批判着后工业时代的冷漠、寻求着生命的真谛。 他的伤感里却有着一种不愿妥协的永恒精神,一种勇敢思辨的力量,同时带给人们对于人生和困境的哲学思考。

 

Xiao Min, as an Asian artist, was trained as an oriental artist from an early age, and his orientalism is not only expressed in his inheritance of traditional Chinese art resources, but also in his eastern thinking. Xiao Min's works are full of tragedy, as he criticises the indifference of the post-industrial era and seeks the true meaning of life with his soft sighs and solitary sentiments. In his sadness, there is a timeless spirit that is unwilling to compromise, a courageous power of reflection, and at the same time brings people to philosophise about life and its difficulties. 

 

肖敏一直期望洞穿他业已熟悉的雕塑专业的创作背景,从而穿越回到来自幼年学习书法和中国绘画的早期经验。他用现代工业化都市中自身处境的真实表达回应了他这一代人曾经拥有的自然印记。在创造性地将传统中国绘画的托裱方法运用到对于立体结构的造型之中,肖敏开创了一种既类似于传统绘画的形态又仿佛是三维的塑造手法,从而在托裱和烧毁的对冲之下呈现了具有某种残破意味的写意山水。这似乎是当下人类技术化风景在时间的历程中终将成为遗迹的预言。

 

 

Xiao Min has always wanted to penetrate the already familiar context of his sculptural profession and thus travel back to his early experiences from his early years studying calligraphy and Chinese painting. He responds to the natural markings of his generation with an authentic expression of his own situation in the modern industrialised city. In creatively applying the traditional Chinese painting method of framing to the modelling of three-dimensional structures, Xiao Min has created a form that resembles traditional painting but also seems to be shaped in three dimensions, thus presenting a somewhat tattered landscape under the counterpoint of framing and burning. This seems to be a prophecy that the present technologised human landscape will eventually become a relic in the course of time.