Fangyin Li

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My inspiration comes from collecting materials from the surroundings or discover everyday materials. I am interested in using what has left behind upon this mass produce environment, to question the perfectionist in the society. I want to recreate what has already exist and brings a new language to the audience. The personality of the work connect the environment of where I build it, with the materials speak for its place and also base on the research and the observation of different places, my work usually represent the interaction between me and the environment.

THERE IS NOTHING TO SEE, 2018

I began with diverse found objects, improvised them into juxtapositions and precarious physical relationships building a chaotic sculptural structure. This visual process reflects the inner workings of the brain, connections being made leading to further and further in an endless signifying chain. The outward appearance of stability, although it is actually teetering on the edge of collapse, influences the interaction with it, putting the viewer in a state of uncertainty about whether to stay away or go closer. If the second option is chosen an intimate space is opened where further latent meanings and complex details becoming visible. On the surface the form of the work suggests itself as following in the art historical lineage of collage and assemblage, and can be read as automatic or deliberately nonsensical, but the introduction of personalised ‘made’ objects which have the opposite character blurs the lines between rational and irrational, flux and stable and real and obscure. It is the anonymity of the ‘found’ objects versus identity in the ‘made’ objects, bringing the hidden thing out of the surface, collide with the existing reality and create a certain cognition for the truth.

2.5 PISCES 二點五魚座, 2018

My works included installations, mixed media and paintings. I am skilled in using objects to create narratives. From my personal observation and logic, my works discuss human emotions and culture relationship. Influenced by my training of traditional painting since little, I discuss the installations in both painterly and sculptural perspectives.

LEFTOVERS, 2017
http://www.lifangyin.co/