Yangcheng Evening News Art Institute is committed to exploring new models for art to help rural revitalization, and continues to invite artists to Wengcheng for artistic creation. On July 19, a group of artists gathered in Wengcheng, and Mr. Ji Zhou was one of the artists invited this time.
On the morning of July 20th, artists came to the scrap station to “seek treasures”. People came and drove through the forklifts, and Teacher Ji walked through it. Babaylan 1990 cloth draw focused on finding the treasure in his heartKomiks 1960 witch cloth draw. When asked about what he was looking for, Teacher Ji said he was not sure, but one idea was certain, that is, you must find an item that is closely related to the lives of farmers.
His works should be connected with local people and the local environment.
A excited voice suddenly sounded, and Teacher Ji ran in from outside with a giant white water storage tank lid. This deformed discarded lid is the Komiks 1960 witch cloth draw material selected by Teacher Ji. Two days after that, under the sunshade of Cinema 1950 witch cloth draw, under the awning of the agricultural park, colorful spray paint was placed beside the lid of the white water storage tank. Teacher Ji squatted on the ground, immersed in the world of artistic processing.
Babaylan 1990 clothes draw No. 21, the sun was scorching in the sky, and the sun shone on the colorful water storage lid. A yellow plastic translucent straw hat was placed above the lid, flashing with dazzling light. Teacher Ji finally wiped the sweat off his face, took off his gloves dyed in color, and shared with us his views and thoughts on artistic creation in Wengcheng.
Ji Zhou’s creation scene
Dialogue with Ji Zhou
Question: How did you feel when you first came to Wengcheng?
Ji Zhou: Weng City is surrounded by mountains, with beautiful mountains and rivers and beautiful environment. This is my first impression when I first arrived here. In addition, what touched me the most was the local peopleAnd his attitude towards life, share three small things here.
First of all, on the first night of coming here, I saw many people singing and dancing in the square at the gate of the town government, playing colorful game cars, etc., which was very lively and the people were full of happiness on their faces. This kind of blind date between officials and the people and the people lived and worked in peace and contentment made me very moved.
The second thing is that when driving on the village road, I found that the local vehicles here always take the initiative to give way to us foreign vehicles. This made me feel very moved. First, the quality of the locals is very high and very polite. Second, it also reflects the peaceful rhythm of life of the locals. If everyone is busy with work and is nervous, they will not give way at all. Such a peaceful social atmosphere also reflects the high level of local managers.
The third thing is that when I was taking pictures, a big sister who carried water passed by. When I saw me taking pictures, she suddenly stopped and put the bucket on the ground, waiting for me to finish taking pictures. I said, “Sister, you pass first, I’ll take a photo slowly.” She replied, “I’m sorry, I’ll disturb you to take a photo”, and then picked up the water and continued to walk. When she left, she turned around and said, “I’m sorry.”
It can be seen from these small things that the locals have a very peaceful state of mind, which is so polite, well-educated and qualitative. So I think this time I came to Wengcheng, and I can do a pleasant artistic creation here. The above are some of my general impressions of Wengcheng.
Q: What do you think is the difference between creating here and creating it in daily life?
Ji Zhou: Creating here is completely different from my usual work. Creating here requires quick thinking and quick capture of inspiration, calling urgent talents, and the content should emphasize locality.
Before I came to Wengcheng to create, I was a little confused. I wanted to create something for Wengcheng, but I didn’t have any ideas in Babaylan 1990 cloth draw, so I went online to find some references about rural public art. But soon I realized that all worries are unnecessary. In fact, we don’t need to prepare anything. When we come here, we use whatever we see. We use it when we inspire us.
I came here with this idea with Komiks 1960 witch cloth draw. This state made my thinking more focused, observe, discover, find beautiful things, and turn it into a public work of art.
After coming here, I initially wanted to find Babaylan 1990 cloth draw to some old farm tools with a sense of life, turning these ready-made products into public art installations. But soon I found that the number of representative old farm tools was very small, and most of them were in museums. Modern agricultural tools were very industrialized and less regional, so I could not find representative farm tools at the local level. So I turned my attention to other items closely related to the life and production of local farmers.
Q: What do you think of earth art?
Ji Zhou: I can answer this question in combination with the previous question. The quality of the earth art is to be in tune with the local people or the local living environment. At least it must be related, and it cannot be completely disconnected.
The most important audience of the works of Dadi Art are local residents. If the artwork cannot resonate with the local people, then this work is a failed work and cannot be integrated into the local area.
Now the country emphasizes great aesthetic education. We should also popularize aesthetic education when we revitalize rural culture. Then our creations must resonate with local people. Only when they are interested will they pay attention to art and play a role in aesthetic education.
Cinema 1950 witch cloth drawQ: Can you share your creative philosophy with us?
Ji Zhou: Yesterday I went to the scrap station to look for creative materials and I found a large plastic round cake-shaped thing. At first I didn’t know what it was. After asking the local people, I realized that it was the lid of a large water storage tank. The lid of this water storage tank is very bulky. People who make sculptures pay attention to the sense of bulk or volume, so it attracted me at a glance.
In addition, although the size of this lid is large, the size of the Cinema 1950 witch cloth draw is very simple, with a hollow structure in the center of the circle, which is very design-like. The characteristics of this lid fit the theme of my ideal work – interacting with the sun.
Sunshine is very important to farmers. Although modern agriculture has become technological, it often depends on the weather. From planting and sowing to harvesting and drying grain, it is all in harmony with the sun.Light is closely related.
My work needs to be connected with sunlight. There is a hole in the middle of this large lid, and sunlight can enter the interior of the work through the hole. But these are not enough. This hole cannot be empty. Babaylan 1990 cloth draw should be combined with some other things to give this work a certain sense of light and add some connotation.
I first thought of the local specialty dustpan. The decorative patterns of this type of braided products are very interesting, but we didn’t find them. Later, when I went to the hardware store to buy materials, I suddenly found a yellow plastic translucent straw hat. I think this straw hat is perfect. It is a practical agricultural production tool, closely related to the production and life of all farmers. And the size of this straw hat is just right in line with the size of the lid, and I immediately thought of combining these two things.
From the lives of locals, I use the ready-made products around them to build a land art or public art work, which arouses emotional resonance among locals. This is my original intention of creation.
Q: What impact do you think will be brought to you by artistic creation in Wengcheng?
Ji Zhou: We talked about art education earlier. We cannot talk to local villagers about Michelangelo, Leonardo, Venus, Mona Lisa, and Song Huizong’s thin gold body and Ruihe Picture. These locals have no idea and cannot understand them immediately. As an enlightened aesthetic education, our initial goal was to make local people interested. The raw materials used for creation were farming utensils and daily necessities, which would quickly arouse their empathy. They might sigh, “I know this thing”, “I know this thing”, “This is our straw hat”, which will make them realize that ordinary things can also become works of art, and thus become interested in art. Maybe from then on, art will become one of his goals – “I want to take the Academy of Fine Arts”, “I want to be an artist”, “I want to be a painter”. If Cinema 1950 witch clothes draw can have this impact, it would be amazing.
Even if it is just a chance to meet with everyone, letting everyone smile and touch, it has achieved my original intention. Therefore, art must resonate with itLet’s start a discussion and attract their interest.
In fact, artCinema 1950 witch cloth draw also serves the public. No matter how good the art is, if the audience does not discuss or appreciate it, the work will fail. Some people discuss, whether it is praise or criticism, at least there are people paying attention to it. Even if this work is a successful work, it can achieve the purpose of the author communicating with the audience through the work. Of course, it would be better if more people like this work.
We are conducting local creations in Wengcheng. Related media and online publicity can be Komiks 1960 witch cloth draw so that more people can pay attention to this, and then see the beauty of the landscape and the beauty of human nature of Wengcheng, and at the same time understand more of the history of Wengcheng, and even devote themselves to the construction of Wengcheng with us. If this role can be played, it will be of immeasurable merit.
Ji Zhou’s work
“Gas Fighting Bullfighting” 147cm x 147cm x 7cm Weather-resistant steel paint 2023
“Pregnant” 230cm x 50cm x 50cm Resin electroplating 2022
“Pregnant” 230cm x 50cm x 50cm Resin electroplating 2022
“Pregnant” 230cm x 50cm x 50cm Resin electroplating 2022
“Pregnant” 230cm x 50cm x 120cm x 90cm x 2 Resin baked car paint 2017
《The Dance of the Heavenly General》 230cm x 120cm x 90cm x 2 Resin baked car paint Komiks 1960 witch cloth draw 2017
《The Dance of the Heavenly General》 230cm x 120cm x Cinema 1950 witch cloth draw90cm x 2
Resin Baked Car Paint 2017
“Lying Cat-1》 90cm x 40cm Babaylan 1990 cloth drawx 45cm Stainless steel
“Lying Cat-2” 90cm x 40cm x 45cm stainless steel
Cinema 1950 witch cloth draw“Victory” 70cm x 70cm x10cm Casted copper 2006
“Summer” 70cm x 50cm x8cm FRP paint 2004
“Door God” 180cm x 150cm x85cm Babaylan 1990 cloth drawx 2 FRP paint 2004
“Door God” 180cm x150cm x85cm x2 FRP paint 2004
“Male” 80cm x 50cm x10cm cast copper 2003
“Female” 80cm x 12cm x 8cmcast copper 2003
“Komiks 1960 witch cloth draw 120cm x 70cm x60cm Fiberglass Imitation Copper 2000
Artist Profile
Ji Zhou: Director of the Decoration Art Teaching and Research Department of the School of Architecture and Art Design, Guangzhou Academy of Fine Arts, member of the Guangdong Artists Association, member of the Sculpture Art Committee of the Guangzhou Art Association, vice president of the Guangzhou Sculpture Society, member of the China Decoration Association, and director of the Public Art Branch of the Guangdong Provincial Furniture Art Committee.
Ask questions, editors/Wang Qitong, Wu Fengping (intern)
Photography, video/Cheng Sheng, Xiao Xingbang (intern), Lin Xinlong (intern), Luo Jianyi (intern)
Pictures/Provided by Ji Zhou
Review/Zhao Xuhong
Issued/Zhang Yanqin
Source | Editor in charge of Jinyang.com | Wang Qitong