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 Artistic Reflection and Insights from the Exhibition "Rehearsal: Thirty Samples of Post-90s Artists"

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During the summer, I participated in the exhibition "Rehearsal: Thirty Samples of Post-90s Artists" in Shanghai, China, where four of my works were showcased. These included one piece from my undergraduate studies and three representative works from my postgraduate practice. Among them,  The New Utopia, the first painting I created after arriving in the UK, holds significant meaning for me. However, Away from the Close stands out as the most special. This work embodies my reflections, transitions, and experiments during my studies in the UK, summarizing this new phase of my artistic journey.

Studying at UAL has been a transformative experience, exposing me to new perceptions and creative paradigms. Through UAL’s curriculum and visits to Western art museums and contemporary galleries, I have been able to explore cutting-edge painting practices and diversify my visual vocabulary. Additionally, living in a foreign culture has provided profound insights, influencing my work. "Away from the Close" reflects my absorption and transformation of these cross-cultural experiences.

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During the exhibition, I met Yuyue Zhou, whose artworks were displayed next to mine. Coincidentally, Zhou graduated from UAL-Chelsea's Fine Art program last year. We exchanged insights on our overseas learning experiences and artistic philosophies, and discussed the concepts behind our respective works.

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Yuyue Zhou’s Artistic Practice: Challenging Gender Constructs

Zhou’s exhibited works this time are from his new series Moonlight, inspired by his imaginative interpretation of Yeats' prose poem "The Cat and the Moon".Zhou’s creative practice centers on gender issues within traditional family contexts. Through his self-portraits, he projects internal reflections of his identity. His work, influenced by Judith Butler’s "Gender Performativity" theory, explores the fluidity and ambiguity of gender identity, challenging traditional gender boundaries. Zhou’s portrayal of a "new self" — an androgynous figure — embodies a "blended" state, merging both masculine and feminine traits. This reflects his understanding of gender identity as dynamic and multifaceted.

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Growing up in a traditional family, Zhou experienced gender norms that shaped his identity while also fostering resistance. This tension forms the crux of his artistic exploration, as his works encapsulate his struggle and eventual reconciliation with his identity. Memory plays a pivotal role in Zhou’s creations; he delves into fragments of his past, using them to engage in dialogue with his younger self, generating new understandings of identity. This process enriches his works with emotional complexity and serves as a method of self-discovery.

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 Shared Themes: Rethinking Traditional Gender Representations

Zhou’s and my artistic practices share a common goal of questioning and challenging traditional gender stereotypes. While Zhou focuses on the fluidity and ambiguity of gender through Butler’s theoretical lens, my work critiques the depiction of women in traditional art, specifically through Klimt’s female portraits. Both of our practices place gender deconstruction and reconstruction at the core, reflecting a shared concern for societal norms surrounding gender.

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Zhou’s work, rooted in his personal experiences within a traditional family, transforms his inner struggle into tangible expressions of selfhood. Similarly, my exploration of gender representation in art critiques classical depictions of women. Inspired by Zhou, I recognize the potential to integrate my personal experiences and memories into my work. By doing so, Klimt’s female figures can transcend abstraction, becoming vessels for a dialogue between my own perspectives and external gender ideologies. This personal narrative would enhance the emotional resonance and depth of my abstract works.

 

Interaction and Symbolism: Broadening the Artistic Experience

Zhou’s use of reflective materials, such as mirrors and transparent surfaces, allows viewers to see their own reflections within his work, fostering an interactive experience. This approach inspires me to explore interactivity in my abstract expressionist paintings. For instance, I could employ fragmented compositions and matrix-like perspectives to encourage viewers to reconsider their relationship with traditional representations of women. By inviting viewers to project themselves into the artwork, my goal is to challenge monolithic interpretations of femininity, enhancing the participatory and critical dimensions of the work.

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Additionally, Zhou frequently incorporates symbolic elements, such as black cats, pearls, and spiders, to evoke emotions and signify gender identity. He suggested that I integrate symbolic objects, such as feminine accessories, flowers, or garments, into my work to metaphorically explore the duality of women’s roles in traditional and redefined contexts. These elements could enrich the emotional depth of my work and highlight the shift from constraint to empowerment in female representations.

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Conclusion: Expanding My Creative Horizons

Through my conversations with Zhou, I have gained valuable insights into incorporating personal narratives, interactivity, and symbolism into my work. His approach challenges me to deepen the emotional and conceptual layers of my art. By drawing on my own experiences and employing metaphorical elements, I aim to further interrogate traditional portrayals of women, reimagining them within a contemporary framework that resonates with diverse perspectives and lived experiences.