LU Junyi: Watch Out, Kiddo
LINSEED is delighted to present LU Junyi鈥檚 (b.1996, China) first solo exhibition 鈥淲atch Out, Kiddo鈥� from January 6 to March 2, 2024, featuring a series of new works in painting, installation, sculpture, and mixed media. Unfolding through an autofictional narrative, with fragments from the past "home", the exhibition traces back the artist's childhood memories, intimate relationships, immigrant experiences, and the emerging consciousness of independence.
In this exhibition, ambiguous and chaotic living beings, hesitant hands, straying animals in the city, nostalgic and broken fabrics, childishly shaped houses, and melancholic landscapes are sifted and pieced together in Lu鈥檚 paintings. These retrospected fragments seem to have become relics of the precious memories from her childhood, delicately sealed by the subtle brushstrokes and compositions as well as the spontaneous collages and stitching. The desires, confusions, and vulnerabilities buried in the subconscious are released and dissolved at this moment. According to Jacques Lacan in his theory of the gaze, in the spectacle of the world, we are creatures who are observed [1]. Conversely, when we are gazing, we sense that the viewed object looks back at us in some way [2]. The idealized image of the "perfect child鈥� fantasized by Chinese families has haunted the artist鈥檚 experience of growing up鈥攖he boarding schools, family relationships, and societal moral standards, accompanied by an expanding complexity of emotions and a desire to respond to expectations. The ego and the self, or the self conducted by the external world and the instinctual self, continue to engage unconsciously in Lu鈥檚 spontaneously imagined sceneries.
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LINSEED is delighted to present LU Junyi鈥檚 (b.1996, China) first solo exhibition 鈥淲atch Out, Kiddo鈥� from January 6 to March 2, 2024, featuring a series of new works in painting, installation, sculpture, and mixed media. Unfolding through an autofictional narrative, with fragments from the past "home", the exhibition traces back the artist's childhood memories, intimate relationships, immigrant experiences, and the emerging consciousness of independence.
In this exhibition, ambiguous and chaotic living beings, hesitant hands, straying animals in the city, nostalgic and broken fabrics, childishly shaped houses, and melancholic landscapes are sifted and pieced together in Lu鈥檚 paintings. These retrospected fragments seem to have become relics of the precious memories from her childhood, delicately sealed by the subtle brushstrokes and compositions as well as the spontaneous collages and stitching. The desires, confusions, and vulnerabilities buried in the subconscious are released and dissolved at this moment. According to Jacques Lacan in his theory of the gaze, in the spectacle of the world, we are creatures who are observed [1]. Conversely, when we are gazing, we sense that the viewed object looks back at us in some way [2]. The idealized image of the "perfect child鈥� fantasized by Chinese families has haunted the artist鈥檚 experience of growing up鈥攖he boarding schools, family relationships, and societal moral standards, accompanied by an expanding complexity of emotions and a desire to respond to expectations. The ego and the self, or the self conducted by the external world and the instinctual self, continue to engage unconsciously in Lu鈥檚 spontaneously imagined sceneries.
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