ARTISTS
Chen Xingye: High Fidelity
He is passionate to search for record stores in different cities, browsing through the vinyls that carry a sense of their eras. When he collects them, the echo of sound gradually awakes his imagination. As the stylus slides down, the static hiss drags him out of reality, fading into illusions. The shadows of these memories are casting onto the vinyl, becoming the carriers of high fidelity, in the attempt to find the very original melody. Brushes become the tool for bootleg recordings, vibrating on the still surface, leaving marks that are sometimes natural, sometimes too obvious almost real. The misplaced elements lead to a misinterpretation. Yet it becomes an antidote to imagination, bringing endless amusement.
All the works in the exhibition by Chen Xingye are inspired by New Wave record covers back in late 1970s to 1980s. The boundaries of such music is relatively blurry: they adopted the edginess from Punk but also generously accepting the moment. The ambiguous chords triggered the artist鈥檚 desire to imitate, to perfect his imaginations despite worldly comments. The process of completing the recreation of personal imagination is a journey to re-discover the existing reality. By replacing the original figures with apes, Chen Xingye provides a symbol that refers to mankind in general with traces back to human origin.Through the apes the viewers shall see a projection of themselves as if it is a mirror reflecting their true inner emotions. If the apes are Chen鈥檚 imagination of primitive beauty, the flowers are representation of universal beauty, which connects present and the primeval past. Between primitive and present, reality and nihility, real and fake, Chen Xingye continues his creation with appropriation and rearrangement of images and fonts, attempting to search for the balance between individual inner world and the mundane world.
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He is passionate to search for record stores in different cities, browsing through the vinyls that carry a sense of their eras. When he collects them, the echo of sound gradually awakes his imagination. As the stylus slides down, the static hiss drags him out of reality, fading into illusions. The shadows of these memories are casting onto the vinyl, becoming the carriers of high fidelity, in the attempt to find the very original melody. Brushes become the tool for bootleg recordings, vibrating on the still surface, leaving marks that are sometimes natural, sometimes too obvious almost real. The misplaced elements lead to a misinterpretation. Yet it becomes an antidote to imagination, bringing endless amusement.
All the works in the exhibition by Chen Xingye are inspired by New Wave record covers back in late 1970s to 1980s. The boundaries of such music is relatively blurry: they adopted the edginess from Punk but also generously accepting the moment. The ambiguous chords triggered the artist鈥檚 desire to imitate, to perfect his imaginations despite worldly comments. The process of completing the recreation of personal imagination is a journey to re-discover the existing reality. By replacing the original figures with apes, Chen Xingye provides a symbol that refers to mankind in general with traces back to human origin.Through the apes the viewers shall see a projection of themselves as if it is a mirror reflecting their true inner emotions. If the apes are Chen鈥檚 imagination of primitive beauty, the flowers are representation of universal beauty, which connects present and the primeval past. Between primitive and present, reality and nihility, real and fake, Chen Xingye continues his creation with appropriation and rearrangement of images and fonts, attempting to search for the balance between individual inner world and the mundane world.
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