motive
[Traditional folk paper-cutting]
1) Habit, or an inertial force that we call custom, under the guidance of inertia, (the habit of many generations is custom.) This power of inertia cultivates a kind of value in the crowd, to a considerable extent to judge the quality of women indicators, "give birth to women, to qiao, pomegranate peony hinge".
2) Need. Traditional folk paper-cutting is the need of rural spiritual life, which is fundamentally different from the reading of cultural life, reading newspapers and watching movies. Paper cutting exists as an activity, but it is easy to be built as a bridge with the art, and take it for granted as something that plays a decorative role.
[My paper-cut]
1) Art creation. I live in contemporary times and grow up in the city. I was taught what art is, and I have a clear imagination of working methods and achievements. It is not the power of inertia, but an active choice, which is based on the value judgment of the aesthetic orientation of modern urbanites.
2) Need. The need of spiritual life, the need of emotional shading, the need of free expression, the need of complete works. My goal is to finally complete the spirit of moving, pleasant aesthetic works, may also be shown to others, the activity process itself is not entirely a pure purpose.
Observational purpose
[Traditional folk paper-cutting]
1) Witchcraft. The traditional folk paper cutting activities are mainly carried out by women, with a heavy witchcraft color. Through paper cutting, many positivist rational thinking is linked together, and we believe that this connection will play a practical role. A lot of transcendence is absorbed into the real world of the senses. Paper-cutting is always expected to achieve some transcendental purpose, causing some mysterious things. For example: beg rain doll paper-cut, send disease doll paper-cut, catch bun doll paper-cut, xi flower paper-cut and so on.
2) Psychological suggestion. This is a contemporary interpretation of the function of witchcraft, which almost all traditional folk paper cuts have, implying that people have a spiritual space to extend the yearning state of existence.
3) Media of crowd organization and cultural communication and inheritance. The crowd is integrated by the external form and cultural activities of spiritual activities and become an organic system. Traditional folk paper-cutting enables women to connect and communicate with each other for the purpose of including studying skills. When the skills are passed on from the elders to the younger generation, cultural inheritance also takes place.
[My paper-cut]
1) Psychological cues. Contemporary art generally has a certain degree of witchcraft color, in my creation, the color of psychological hint is very obvious, a large use of surreal combination, trying to express in the spirit more difficult to describe the level, and I believe that the work of hints in the actual affect my life, a kind of self.
2) trial. I regard paper-cutting as a concrete form carrying the avant-garde spirit, and try to introduce many concepts of experimental art into the expression of paper-cutting, so that this ancient and traditional visual style can be transformed into contemporary art image resources.
3) Performance. The most direct concept is the expression, emotional expression, mental performance, technical performance. Hope to have a spiritual communication with the viewer, this kind of communication is the purpose of expression, sometimes I even hope that it is a kind of enlightenment, a declaration.
Theme style
[Traditional folk paper-cutting]
The theme of traditional folk paper-cutting mainly has two themes: seeking profit and avoiding harm.
The style of traditional folk paper cutting is mainly inherited, which always provides some local features or symbols that can be recognized visually, and realizes the connection with the inheritance style in people's memory through these things. For example, the hair style of the catching doll and the open posture of the whole person's limbs, and a large number of symbols symbolizing the gender difference between men and women appear. That is to say, the narrative structure of traditional folk paper cutting is always unchanged. However, the traditional folk paper-cut will show the difference of "style" due to the different creators, which will be embodied in the transformation of different authors on the basis of the original narrative due to their own aesthetic orientation.
[My paper-cut]
My creative themes focuses on two aspects: the expression of dreams and the imagination of myths.
The styles are varied, and no structure is fixed except for symmetry. Most of them come from my understanding of painting, especially of surrealism. The style of traditional folk paper-cutting has also played a considerable role in inspiring me. In terms of style, I interpret them as a model of surrealism, and they have become the object of my reference and use after being incorporated into the visual resources of painting.
Dimensions and specifications
[Traditional folk paper-cutting]
The size of traditional folk paper cutting is generally not large, which is closely related to its function. The size of witchcraft paper cutting should be suitable for use in activities. Door god paper cutting or group flower paper cutting cannot have a large size due to the scale limitation of rural living space. Another kind of paper cutting prepared for embroidery is more subject to the size of the clothing.
[My paper-cut]
The size of all the works created this time is about four feet, which is a relatively large size compared to the traditional folk paper cutting. I do not have a concept of action space or living space to limit the size of the works, so the reason why I make them better
Large is a kind of consideration of the viewer's visual stimulation, only large size works can attract the audience's attention more. Moreover, large-size works are relatively easy to carry more details and express more complex meanings.
pigment
[Traditional folk paper-cutting]
Traditional folk paper cuts are cut into red paper, but also white paper, yellow paper, or various colors of paper collage. Red is an auspicious color in Chinese folk, reminding people of many festive things. Red itself is a symbol of a collective and beautiful concept.
[My paper-cut]
All the works are single white, and there is no consideration of folk white funeral. The reason why I choose white is completely to achieve a visual calm, so that all conflicts arise in the collision of graphics. White provides a background for thinking. At the same time, choose white can also achieve the most simple, the most intense visual effect. As for what people think of based on white, that's not my consideration.
Modeling method
[Traditional folk paper-cutting]
The modeling ability of traditional folk paper cutting is mainly obtained through inheritance training. If we must think that the folk is in modeling, then the modeling class is taught by copying and cutting smoked samples. Through this kind of training, the folk paper-cutting people will master many kinds of patterns, (which will be constantly enriched and improved in her future practice.) All kinds of patterns have their specific symbolic meanings, and different combinations will appear in a variety of expressive narratives. The paper-cut individual will develop the shape she learned in her own continuous exploration, but the brand laid by the modeling foundation cannot be erased.
[My paper-cut]
The basic modeling training I received is a western analytical sketch, where any description object is cut into many parts and regrouped together. Therefore, the integrity of the local and the whole is equally important to me. I try to be straightforward, almost unreserved. The language of folk paper cutting is very implicit. Many of us with western training think that important parts or structures are omitted by it, but only with one or two distinctive symbols.
Narrative structure
[Traditional folk paper-cutting]
The narrative structure of traditional folk paper-cut is planar, and its local symbolic meaning are collage together, and the narrative is carried out according to the inherited story text. There is such a basic paradigm: many subsidiary narratives are attached to the main narrative to make the whole paper cut have richer meaning or more meaning accurate. There is be no conflict between each narrative part, and no correlation will not occur.
[My paper-cut]
In the second half of the work, I introduced a three-dimensional narrative structure, that is to say, stratified in the picture by reading time. The structure of each layer is self-contained, but it is unable to complete the overall narrative alone. There are often conflicts between the layers, and even the logic of the narrative is different. This conflict is exaggerated the more intense the better, it will make people in a strange space, to the depth of the ladder is sometimes upside down, as long as people into the space of visual thinking, he cannot retreat, must go through a process of self independent thinking, after logic to find the direction of the ladder.
space
[Traditional folk paper-cutting]
Imaginary, and descriptive ones.
Traditional folk paper-cutting does not consider the perspective or the actual visual possibility, the space it shows is conceptual, is imaginary, is the space appearing in the brain through the description process, rather than a simulated visual space.
[My paper-cut]
Imagination, the stereochemistry in the concept.
When possible, I carried out three-dimensional processing of some parts. Some hollow parts actually play the role of shadow, but at the same time make them become a negative as far as possible. In some alternate parts, I used a negative dislocation method to convince people that there was a depth that normal vision could not penetrate.
symmetric
[Traditional folk paper-cutting]
Dual, symmetry convey auspicious and happy information in traditional folk paper cutting, which can even be traced back to the Chinese concept of Yin and Yang, heaven and earth, life and death, men and women and so on.
[My paper-cut]
For me, the form of symmetry embodies the concept of tearing and copying. First of all, because of the paper cutting, I just need to do half a human form, open will get a complete one. But when I make a complete human form at the beginning, it becomes two, it could be a longitudinal split torso; it can also be the original and the original duplicate.
hollow out
[Traditional folk paper-cutting]
The traditional folk paper-cut hollow-out method makes its paper-cut graphics present a simple and natural form. It shows each local figure through hollow-out, and the shape is obtained by subtracting some figures from the whole.
[My paper-cut]
Basically is the thinking of the line, the line does not cross naturally together, forming a hollow area. Each unit strives to be complete, and is usually connected to keep the work intact.
