Fluid: She either swims over or sinks 流体：她要么游过去，要么下沉 Qin Jie 秦婕
艺术家简介 About the Artist
她的作品曾获2021年Inkbeat全球园中艺术展览（ Arts in the park ）艺术与诗歌大赛19-24岁组冠军，2021年G-CROSS全球大学生创意银星铜奖、2021年中英国际创意大奖中国赛区铜奖、2021年CADA日本概念艺术设计铜奖等。
Qin Jie(b.1998), is an experimental experience designer, cross-media artist, writer, and product designer. She is currently studying her Master of Information Experience Design at the Royal College of Art in the UK. She focuses on the experience design and creation of effective information with experimental methodologies. Therefore, her works’ formats are very diverse, including interactive installations, experimental moving images, theoretical fictions, and visual communication, etc.
At present, she is committed to researching human, consciousness, and society, in the field of literature and art through a cross-media approach, and looking for the possibility of connection.
She is also the founder of the WeChat subscription: Howmanyhowmuch. She has created short fiction “Lethal Animals” and a series of short essays “No Reality”, etc.
Her work has won the winner of Inkbeat Global “Arts in the park ”competition (age 19-24 ), the 2021 G-CROSS Global College Student Creative Silver Star Bronze Award, the 2021 Sino-British International Creative Award China Division Bronze Award, and the 2021 CADA Japan Concept Art Design Bronze Award, and so on. Her works have been exhibited in Beijing, Shanghai, London, Milan, Hangzhou, and other places.
Recently, some of her works will be exhibited in 16 cities around the world, including London, as winning works of the Inbeat competition.
“The freedom to roll builds the pyramid of power
Give up the tug-of-war
escape from the chaos of hostility and risk of the wilderness
Lying at the bottom of the river to catch his breath” – Shengji”Fluid I.”
Modern society is mobile.
In the symbolic sense of material properties, solids are often metaphorically cured and resistant to change; The expression of solids in modernity is often described as the existence of rigid death. The direction of social development usually wants to go through “liquefaction” because liquefaction makes it easier for society to advance and update. On the contrary, resisting liquefaction is the performance of society to remain rigid and self-styled.
Mobility is also the process of social “purification”. New things continue to wash away the stains and silt of the past so that society constantly updates the wrong original content. In the artist’s previous research, post-modern mobility attracted her and became the connection point between her search for self, individual, and society. As a result, society as a whole is becoming free to acquire more possibilities through constant negation.
Great modernity brings about the connection between self-identification and the modern system. Anthony Giddens believes that in the context of modernity, self-change must be regarded as part of the intuitive process of connecting personal and social change for people to explore and construct. By exploring the individual’s changes in the late modern social environment background, the artist discusses the freeness of self-generated mental security and existential anxiety.
We seem to be becoming free by questioning the order, chaos, and internal volume …… What did we get? What have we lost?
What Zigment Bauman said: To become modern is to discover that we are in such a situation. It allows us and the world to experience adventure, strength, joy, growth, and change, but at the same time, it may destroy what we have, what we know, and what we have. Yes, everything.
Modernity involves us in a huge vortex of eternal division and innovation, resistance and contradiction, ambiguity, and pain. How to connect the past and continuous innovation, in the chaotic change, the artist tries to build an illusory path to reconciliation through the connection and organization of fragments.
The risky environment constituted by modern institutionalized forms, links individual and collective risks in most cases. Modern mankind’s assessment of risk gives it the ability and need to think ahead. And it also requires people to estimate the possibility of the future being inversely related to the reality of current actions.
At the same time, however, the “possibility of freedom” obtained by humans also brings about insecurity in the ontological sense, that is, anxiety. In a fluid society full of changes, people will become obsessed with the possible risks that affect them to become paralyzed in action.
In this work, the transparent balloon and the candle are placed on an optical bench. The audience can control the distance between the two, but if the two are too close, the balloon will explode. Through this work, the artist hopes that audiences, as risk “players”, will experience anxiety and feel the lack of ability to withstand shock hazards, and then reflect on the contradictions and conflicts that individuals have generated in the modern institutionalized risky society.
Moonlight：I met a pool last night
综合材料 152 x 200 x 30cm
实验影像 1920 x 1080
I wrote a poem, which is also my dream, an illusion.
I met at a pool. It is on the ground, while it seems to be floating in the air.
It is so light that it does not have a fixed spatial shape, nor is it durable in time.
The actual field and illusory feelings are intertwined with each other, allowing me to constantly search in the illusory scene until I find the way of my being.