XIN QI
Born in 1993, Graduated from the Department of Fine Arts at the National University of Tainan in 2015, One of the founders of the "Fake Fire Atelier" Curator and artist for the Longci Light Festival "VOID MOUNTAIN"
The inability to let go of "vanishing" is precisely "obsession." In a metropolis like Taipei, there is a sense of rapid and constant change, whether it be in the scenes, information, or living environment. As a result, Xin Qi, since childhood, has harbored the idea of "residing" in the temporal and always tried to preserve the time and space around her life.
In the beginning, Xin Qi learned ink painting as a "cultivation" process. Traditional techniques were like "suppressing energy." In her initial creative series "Metaphorical Desire", she expressed the contradictory and energetic existence of "tradition" and "breakthrough" .
Xin Qi's childhood was marked by memories of "oyster farms in Xinyi District." However, upon arriving in Tainan, she discovered that what she remembered was an oyster-shaped art installation in Taipei City. At that moment of realization, the boundary between the falseness and reality of art was shaken. After participating in the experience of mass co-creation of art, the "Lightworm" series began to transform into environmental art. Fluorescent lines using traditional ink painting techniques appeared in the banana forest; then the reproduction of "large-scale fields" became the main theme. The slices of time and space recreated in "The Lost Residence" include collapsed giant trees, evaporated rivers, waterfalls lacking water, bare stalactite caves, etc. Metal threads with "traces of time" are used to weave into the past time. The landscape that once existed in a certain fragment; this series by Xin Qi is like cutting time and space into fragments, putting them on glass slides, compressing them, illuminating them, and seeing them.
Xin Qi's works include classical Japanese paintings and modern installation art.On the basis of traditional Japanese painting, which is relatively classical and emphasizes techniques, a layer of more impactful and avant-garde creative methods has been constructed. Everything comes from a concept of the essence of art: the power of life.
Her works focuses on the power of life, which derives from confrontation, experiences, and harmony with the environment. Therefore, in terms of creation, it is believed that there needs to be a meticulous handling of the spatiotemporal and regional aspects of the work. This involves not only the intervention of the artwork in the real environment, using on-site production or environmental art as a narrative method but also the spiritual spatiotemporal dimension. The creative environment includes aspects of my personal life and memories, portraying the temporal growth within the artwork. This, in turn, leads to the extraction of pure emotions, which are integrated into the presentation of the final piece.
Beyond the dimensions of time and space, another characteristic of life is its resonance. Through personal daily experiences and life journeys, one can infuse reasons for human commonality, and the resonance of life lies in the essence of aesthetics. Capturing the emotional impact of this commonality and transforming it into a creation that viewers can experience and it is a lifelong pursuit. My creative journey represents the evolving process of life works into contemporary practice.
To be announced