On the first sight of Dingyi’s artwork ,it stroke on me the name of a linguist---Ferdinand de Saussure. He holds the idea that language is nothing but linguistic signs, which is composed of signifier and the signified, and possibly has a referent. That seems to be the same with Ding’s work, which express no specific meaning from the surface. His series artworks of cross-tens are fill with these elements of all colors , thus making irregular patterns at random. Ding said that he wanted to return to the simplest way of expressing and what truly conveyed by these artworks were hard to define. He tried his best to avoid traditional way of expressing emotionally but to be logically by giving of figures (yixiang in Chinese) striving for signs. Surly, it turned out to be a big success in Ding’s work People of different culture and civilization can be deeply impressed by the considerable quantities of glorious and shining cross-tens at first sight. Taking a close look ,all the cross-tens are delicately painted .As if you turn a distant view of the artwork, ignoring all the small components ,you’ll find bigger cross-tens mixed up with numerous and uncountable small cross-tens.
But to me ,I wonder what’s the different inherent among all these cross-tens series. It was really frustrating .So I asked Ding .He said that kind of meaningless was the symbol of contemporary art. But to different audience .You could make sense from them through your own experience. For example ,from these shining cross-tens ,you can get a feeling of vigor of the city and modern life. It all depends.
That may be true.But it’s still hard for me to figure out the meaning of these artworks .I guess maybe they are just signs depicting the irregular life of modern society and people’s hazy of the life and choice while confronting crossroads
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