WE ARE NOT THE MASTER OF EVERTHING

‘We are not the masters of everything’ refers to the state of being for young artists or the younger generation. There are two interpretations. The younger generations are incapable of finalizing a new business because distractions are always in the way. The second interpretation could be that nothing is accomplished by the young because completeness is only achieved when their self-awareness is truly constructed. Both demonstrate that subjectivity of young people is not yet been established. And the art works of young artists reflect this incompleteness. But we have to emphasize the incompleteness itself is exciting and interesting enough. The unfinished and the subjectivity are the essence of form. This invitation exhibition for young artists at No.10 Gallery, ‘We are not the Masters of Everything’, tries to display the process of self-awareness, self-establishment and self-construction of young people.

Feng Yiying's sculptures typically express the intention of this exhibition. All the sculptures curl up and are projected onto the wall, indicating the loneliness and hesitation that confuse the young generation. They are so obsessed with their internal world that the obsession makes their readiness to fight in real world almost vulnerable. We, the observers, should penetrate through the affective dimension of the work, reaching to the language of sculpture. The technique of projection in the work and the unique demands of this exhibition space create an exciting extension of sculpture media.

Feng Yiying

Lv Yan's drawings are mostly of animals; horses, fish, peacocks, crickets, baby snipe etc. The artist seemingly pours all the emotion into the animal's face and the faces are intensely significant, which actually reveals to us the emotional state and magnificent desires of young people. The wide open eyes of the owl, which can differentiate brightness from darkness, while leaving details and colors at a loose end, indeed capture the state of being of the young. They are compelled by the internal and external uncertainty and are struggling to 'see' a way out. The artist pays close attention to the conventional factors in his paintings, which extends his attempt to identify the present state of being through the power given by conventions.

Lv Yan

Xiao Zheluo also focuses on animals, but with limited scope, basically dogs, anthropomorphic dogs. To a large extent, the dogs are humanized actors, in her own words. The dog in the drawing flinches and hesitates. Its actions are necessarily dependent on tools, like crutches, toys, backpacks, books, life buoy, etc. When external dependencies are taken away, the puppy is at a loss. These are characteristic of adolescent behavior. What makes her works outstanding is that she sets up various scenes for the puppy so that the story lasts.

Xiao Zheluo

Wu Xiaochuan's works also involve animals, but with larger scope, placing the animals within a scene with a tower, book, newspaper, boat, skull and stone steps. Here he intends to highlight young people's doubts about the future. However, this is not where the stories end. In one of his paintings a child rides a horse with a fuzzy face and unrecognizable settings. The child keeps heading to next stop though not knowing where it leads. The artist still holds his faith in the world, in growth and the future.

Wu Xiaochuan

Yan Zhenxing's casts his eyes on all living creatures, as long there is a slight trace of life. The underlying influence of reincarnation in Buddhism is depicted, as the artist has empowered the dead and the living creatures with a second chance of living. His works remind the viewers of the Buddhist idea that great compassion is based on sameness in essence. In his image, all living things, animal and plants, depend on each other and prosper because of each other.

Yan Zhenxing

Lei Bo’s works pay more attention to the real world, though there are indeed imaginary components, which indicate his eagerness for breakthrough, as seen in ‘The hunt for the Moon’. The names of his painting are quite though-provoking, such as ‘Desperate Search’ – what search? ‘What is in the book?’ – What are they? ; ‘Before the Hunt’ – are there any indication of a hunt? This piece of work discloses Lei Bo’s unparalleled imagination. The scenarios in the picture are hard to describe, but we feel something is about to happen.