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Ye Sen

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Ye Sen: Crafting the Inner Life of Timber

Venue: The Opposite House
Exhibition Dates: July 6 - September 30, 2014

 

Press Release

 

Packaged within Ye Sen’s work are a series of antitheses: complexity and simplicity; traditional and contemporary; connection and independence; East and West.

Ye Sen’s works are as remarkable for their restraint as for their intricacy.  Astonishingly, each of his sculptures begins as a single log.  By gradually extracting material, the artist reveals independent objects complete with their interconnecting chains, all born of the same wood and never having existed in isolation from one another.

The homogeneity of each sculpture’s origin is often a surprising revelation to the viewer, notwithstanding that the clean, unadorned surfaces make no attempt to disguise the uniform materiality of the wood.
Brian Wallace

Ye Sen’s body of work is informed by traditional Chinese philosophies and carving techniques, through which the wood itself expresses its potential to the artist.  Venerable Chinese craftsmen considered the materials with which they worked to possess unique voices, which when observed, revealed their artistic possibilities.  These traditional concepts are demonstrated by Ye Sen’s obvious affinity with wood, but he also overlays the voice of the material with his own notions concerning contemporary society. The carved chains, which both enable and constrain movement, are symbols of the restrictions that society and personal habits enforce upon our thoughts, particularly in cross-cultural contexts.  But they also represent connection, in the sense of our shared humanity.

The concept of shared origins, fed into the human construct of East and West, is particularly apparent in Seated: China – West.  A Ming dynasty round-back armchair and a Victorian period palace chair take up their metaphorical roles in opposing corners.  Each is a culturally distinct manifestation of the same object made from the same material. The length of chain permits distance between the two chairs, but also constrains them within an ambit.  Facing each other directly, with curiosity or perhaps suspicion, they are familiar and yet unfamiliar with one another’s existence.   Also chained within the work are remnant slabs of the log from which each chair was created, serving as a persistent reminder of their origin and interconnectedness.

 

Brian Wallace

July 10, 2014

at the Red Gate Gallery

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Jiang Qi 3 – Installations

Venue: The Opposite House
Exhibition Dates: June 28 – August 10, 2014

 

Press Release

 

Jiang Qi 3 explores the theme of craftsmanship in the third edition of a two-year collaboration by artists Li Hongbo, Wei Ming, Wang Lei, and Ye Sen. In line with the practice of these four artists, the comment is often made that it is their “spirit of crafting” that creates bubbles of meaningful and lyrical tracery in the muddied pond of contemporary culture. The “artisan” or “craftsman” is often excluded from the lofty realms of High Art where it is deemed that works of art are “intellectual” products and that artists should never serve as the slaves of technology or technique. This attitude should indeed serve as a warning about the vital signs of civilization; it is the low-key common man living at the grassroots level who tends to believe that craft is imbued with spirit and that pantheistic forces fill the world, and that it is only by not being separated from practice that people with ideas can preserve the momentum and dynamic of life.

Qi (Spirit), in the general sense, has no fixed shape or volume and is free to disperse itself through objects, so the spirit of craft has no prescribed style, like high floating clouds that can eddy down, catch up-draughts from the earth, moisten all living things within a traditional local folk culture, and generate an entire micro-climate. Modernization and urbanization have today left the land exhausted and the flowers drained of fragrance, but these clouds do no hang over the spirit of crafting. Art proclaims the self and concepts, transgressing to find innovation; artists are locked in a frantic struggle to tease out strategies and cleverness, to be proclaimed as the most prescient philosophers of culture. At times it seems that it is only when one looks at a crafted object that one can breathe fresh mountain air and feel that one is looking at something real in this world of illusion.

Unpretentious and at the same time still on a rising curve, these four guys - Li Hongbo, Wei Ming, Wang Lei, and Ye Sen – are hard at work, totally absorbed – emotionally, manually, visually, intellectually, and physically – encompassing the technical, visual, and intellectual,

as they strive to complete their specific tasks today that draw on their ingenuity and craftsmanship, at the same time as they cultivate self-transcendent confidence.
Lü Shengzhong

I remember many years ago when I saw the acute concentration on the face of an old lady in northern Sha’anxi as she made paper-cuts for a window, seemingly oblivious to the reality around her and I couldn’t resist asking, “What are you thinking about as you do this?” It took her a long time to answer slowly as she thought about the question: “I’m not thinking about anything. There is nothing going on in my head”. She laughed. Then I realized: It’s the crafting skill of action that can at one and the same time empty out reality while accepting an ideal and throwing all mental and physical energies and feelings into creating an empty space inside the heart and mind so that the craftsman holds within himself a new world or universe. Why look elsewhere for any other explanation?

 

 

 

Lü Shengzhong

June 9, 2014

At the Turning Point

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叶森 Ye Sen

 

1971            

Born in Liaoning

1998   

Graduated from the Print Department of Shenyang Lu Xun Fine Arts Academy

2009

Graduated from Experimental Art Department of the Central Academy of Fine Arts (CAFA) (Master)

Present

Student enrolled in the Master of Fine Arts program in the Experimental Art Department of CAFA

 

Solo Exhibition

2014       

The Inner Life of Timber Crafting, The Opposite House, Beijing

 

Group Exhibitions

2014             

Jiang Qi 3 – Installations, Red Gate Gallery

2013

The Luxembourg Ambassado’s Sculpture Garden, Luxembourg Ambassador’s Sculpture Garden, Beijing

2012

Material – Object, Eli Klein Fine Art, Beijing

 

Jiang Qi - Installation, Chambers Fine Art, Beijing

2011

Harmonious Differences – Second Experimental Art Exhibition, CAFA Art Museum, Beijing

2010

Material·Energy, Found Museum, Taiwan

2009

Jie – About Present Artistic Expression and Materializing, CAFA Art Museum

2008

The Artistic Culture and Climate Change: the Creative Exhibition – Outlook for Climate, Department of Experimental Art, CAFA

 

Asian-European Art and Culture & Climate Change Project, Department of Experimental Art, CAFA

 

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Crafting the Inner Life of Timber

Venue: The Opposite House
Exhibition Dates: July 6 - September 30, 2014

 

Ye Sen’s reflections:

 

Crafting the Inner Life of Timber, an exhibition initiated by Red Gate Gallery and displayed at the Opposite House, presents four carved timber installations.  The works deal with the existence of contemporary art in public spaces and issues related to construction by the masses. In addition, these works demonstrate the refinement of my own creative practice over nearly two years.

I hope that my works speak meaningfully to the audience. As Professor Qian Mu once observed, “scholarship comes from the people”. This observation has inspired me, helping me to understand the spirit of “the conversion of traditional language” in artistic experimentation from which my early successful works were derived. Two of the objects I found on stalls at the Panjiayuan Market in Beijing --- “fluffing” (xiabai, a stool pillow), and the “bergamot prop” (foshoutuo, a flower pot frame) --- were some of the most basic craft work done by traditional carpenters as folk artists, and the basic information that they conveyed to me was that “timber is alive”.  I felt compelled to experiment with handling timber as a material, and these experiments demonstrated for me “the materialistic rendering of artistic expression”.  I realized that the concept of transforming materials was one which had roots in ancient Chinese wisdom, which considered a material object to possess a voice.  So, when I fix my gaze on each piece of timber in preparation to create, I am thinking both in terms of traditional techniques of carpentry and carving, and traditional Chinese concepts.  I look beyond the purely aesthetic discipline of connoisseurship, and consider the opportunities presented to me by the capacity of the material.

The four works in this exhibition were separately conceived from complete logs.  Appropriate sections were selected for the planar and relief carving of one or more connected pieces that could never be separated or even disconnected, with the aim of transforming what was originally a holistic state into one that is potentially dynamic and alive.
Ye Sen

 

Blind comprises a horizontal log that has been hand-carved using various techniques to fashion a ten-meter-long relief chain, enabling it to hang like an ancient vertical scroll painting.

Analysis No. 3 is the middle section of what was once a log that has been relief carved into a continuously connected three-meter-long wooden chain that  extends the length of the original log.

The main conceptual significance of Seated: Sitting and Being Well-versed in the East and the West reminds us of the thinking framed by the notion that “East is East, and West is West and never the twain shall meet”. It was made by carving a whole block large enough to fashion from it one Ming dynasty round-back armchair and a contemporaneous Victorian period palace chair, the arms and footrests of which are connected by long continuous, and never disconnected, relief-carved wooden chains.

A Craftsman's Analysis of A Chair comprises a whole log hand-carved using wood carving techniques to prepare all the components of the Ming-style “official’s hat chair”.  The components are connected to the wooden log from which it was carved by a continuous and unbroken relief-carved wooden chain strung so that the chair can never be separated from the remaining log.

 

The Record of Examination of Craftsmen (Kaogong Ji) states that “those with knowledge and talent create artifacts, those skilled in handicrafts pass them on, for the generations to follow, and all this constitutes craft”.  In the process of being engaged in the artistic creation and production of these carved timber objects, I have gradually also reflected and introspected on my own identity, even though my conscious perceptions might differ slightly from those of the ancients... ...

 

Ye Sen

July 1, 2014

in Wangjing

Translated by Dr Bruce Gordon Doar

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