Artist: LANG
“DOODLES”原意是指人们无意识或心不在焉时的乱涂乱画。小时候当我们在纸上或墙壁上稚嫩的画出一个凌乱的圆圈加上火柴棍一样的手臂的时候通常形容的是一个人或一个物并承载着孩童时期的想象和表达，它们形状简单却多样化，没有语言或文化差异上的限制和障碍，是最主观自由且直率的表述。此展览中的主角MARKER也由此而生。
作为80后，我们在卡通和漫画中找到共鸣，在游戏中获得短暂的快感，在快消费和快时尚的高度商业化中长大成人，铺天盖地的流行文化和亚文化也随之越发繁荣。“区别于上一辈艺术家寄情于宏大叙事、悲情意识和苦难意识，网络时代和流行文化的出现，使得青年艺术家在大环境中更加凸显自我、以自我表达消解集体表达，以个体经验来消解集体主义经验”。
通过不同媒介的创作，让我对所熟知的卡通形象或消费文化等很多事物有了更多的思考和重新梳理的机会：经典卡通淡化了地域性、民族性、阶层和身份属性等特征，它们站在国际化的视角跨越地域和时空与人建立情感或视觉连接。人们对卡通的认知和既定概念是一样的，甚至成为了世界共识。
创作中通过分割或重组让图像脱离自己的固定框架，破坏角色的原有造型，以陌生又熟悉的面孔重新呈现，形成新的空间，新的意义。MARKER符号化的造型贯穿其中，作为画面的整合或视觉中心，抑或单独表达我们所处消费时代的议题。这样的“新视觉”成为经典流行符号的分支、延续或共融。当中所有的不确定性、破坏性抑或新鲜感都是作品的一部分。
DOODLES: World Consensus
“Doodles” are shapes, lines, or patterns that people draw when people are absent-minded or thinking about something else.The messy circles and matchstick-thin arms drawn immaturely on the paper or walls when we are kids are regarded as a figure or an item, which carry childhood imagination and expressions. Simple but diverse shapes are the most subjective, free and direct presentation without limitations and barriers in language and cultural differences. That’s where MARKER begins.
As the “after 80s”, we feel resonated in cartoons and comics, take real delight in video games and grow up in fast consumerism and fashion, booming the overwhelming pop culture and subculture . “Different from the artists of previous generation, who express feelings to grand narration, sad consciousness and sense of hardship, the appearance of the network era and pop culture highlights selves of young artists in such climate, replacing collective expression with self-expression, meanwhile, replacing collective experience with individual experience.”
By working across different media, I am offered the opportunity to reflect the familiar images of cartoons or the consumer culture, where classic cartoons dilute the characteristics of regionalism, nationality, classes and identity, therefore, building the emotional and visual connection, and spanning the barrier of time and space with an international perspective. It is certain that people share the same cognition and concept towards cartoons, even making it a world consensus.
During the process of creation, the segmentation and recombination of images, which distinguish themselves from the fixed form and damage the original model, surprisingly, reappear with both strange and familiar faces, bringing in new space and significance. The symbolic form of MARKER, filling in the picture, is either the visual focus or integrate the whole picture, or else they intend to symbol in the unique viewpoint of the consumption era. Such “new vision” has become the branch, continuation and fusion of the classic popular symbols. And yet at the same time, the uncertainty, destructiveness or the freshness are all parts of the work.
“DOODLES”原意是指人们无意识或心不在焉时的乱涂乱画。小时候当我们在纸上或墙壁上稚嫩的画出一个凌乱的圆圈加上火柴棍一样的手臂的时候通常形容的是一个人或一个物并承载着孩童时期的想象和表达，它们形状简单却多样化，没有语言或文化差异上的限制和障碍，是最主观自由且直率的表述。此展览中的主角MARKER也由此而生。
作为80后，我们在卡通和漫画中找到共鸣，在游戏中获得短暂的快感，在快消费和快时尚的高度商业化中长大成人，铺天盖地的流行文化和亚文化也随之越发繁荣。“区别于上一辈艺术家寄情于宏大叙事、悲情意识和苦难意识，网络时代和流行文化的出现，使得青年艺术家在大环境中更加凸显自我、以自我表达消解集体表达，以个体经验来消解集体主义经验”。
通过不同媒介的创作，让我对所熟知的卡通形象或消费文化等很多事物有了更多的思考和重新梳理的机会：经典卡通淡化了地域性、民族性、阶层和身份属性等特征，它们站在国际化的视角跨越地域和时空与人建立情感或视觉连接。人们对卡通的认知和既定概念是一样的，甚至成为了世界共识。
创作中通过分割或重组让图像脱离自己的固定框架，破坏角色的原有造型，以陌生又熟悉的面孔重新呈现，形成新的空间，新的意义。MARKER符号化的造型贯穿其中，作为画面的整合或视觉中心，抑或单独表达我们所处消费时代的议题。这样的“新视觉”成为经典流行符号的分支、延续或共融。当中所有的不确定性、破坏性抑或新鲜感都是作品的一部分。
DOODLES: World Consensus
“Doodles” are shapes, lines, or patterns that people draw when people are absent-minded or thinking about something else.The messy circles and matchstick-thin arms drawn immaturely on the paper or walls when we are kids are regarded as a figure or an item, which carry childhood imagination and expressions. Simple but diverse shapes are the most subjective, free and direct presentation without limitations and barriers in language and cultural differences. That’s where MARKER begins.
As the “after 80s”, we feel resonated in cartoons and comics, take real delight in video games and grow up in fast consumerism and fashion, booming the overwhelming pop culture and subculture . “Different from the artists of previous generation, who express feelings to grand narration, sad consciousness and sense of hardship, the appearance of the network era and pop culture highlights selves of young artists in such climate, replacing collective expression with self-expression, meanwhile, replacing collective experience with individual experience.”
By working across different media, I am offered the opportunity to reflect the familiar images of cartoons or the consumer culture, where classic cartoons dilute the characteristics of regionalism, nationality, classes and identity, therefore, building the emotional and visual connection, and spanning the barrier of time and space with an international perspective. It is certain that people share the same cognition and concept towards cartoons, even making it a world consensus.
During the process of creation, the segmentation and recombination of images, which distinguish themselves from the fixed form and damage the original model, surprisingly, reappear with both strange and familiar faces, bringing in new space and significance. The symbolic form of MARKER, filling in the picture, is either the visual focus or integrate the whole picture, or else they intend to symbol in the unique viewpoint of the consumption era. Such “new vision” has become the branch, continuation and fusion of the classic popular symbols. And yet at the same time, the uncertainty, destructiveness or the freshness are all parts of the work.
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