A Specimen of Epidemics

It is a common sight in china that the red or black square fonts read "proud of love for the motherland" and "serve the people"
"Big Brother is watching at you"
George Orwell's world, which was predicted more than half a century ago, is still there. But when I was a high school student and not fluent in Chinese, the images that appear in everyday landscapes can only be called red "images". Although I had a certain understanding of the contents of various signs or slogans, they had the same impression with skin disease medicine or plumbing repair advertisement for me. There was no special significance for me and I thought it was the same for people who live in China.
However, a few years later, I was suddenly struck by the kind of "images" I saw in an old house in the Qing dynasty. I heard the mansion was originally the rich house, but a people's army levied at the time of the revolution, as used in the dormitory. The white wall. Which was constantly eroded by vines, was left with the slogan at that time. The painted part of the painting had been weathered. Leaving only the remains of the handwriting that written at that time.
"Big Brother is watching at you"
A well preserved mansion, just as it was two hundred years ago, its appearance with the "modern" context made me confused.
I was born in Wuxi, Jiangsu Province, China in 1989. The memory of my young age is the town that files gray and earthy dust. At that time the street was busy developing tall buildings and roads. While the development continued in 1994, I moved to Nagoya for my parents' job. The language that had been used had suddenly become unable to communicate, which made me feel troubled. However, I had been getting used for communication in Japanese when leaving kindergarten, and my original language had been getting worse and worse. I had still used Chinese at home, but I was not able to recite any phrase of Tang Dynasty poetry anymore, and I indulged in reading Japanese children's literature. There were many children like me in the "gray zone". Most of them seek to belong from the countries in which they live, I could not make a simple choice while I frequently come and go between two countries. I was often asked "which side are you on?"
Because of the background, my works are often closely related to the existence of language. I find out that it is because even the painting which seems not require language, is not free from the problem of "which side are you on?". So I have been trying to think of the course of the problem -- the state, the race -- as a community,
"Communities were imaginable through the medium of a sacred language and written script."
(Benedict Richard O'Gorman Anderson: Imagined Communities: Reflections on the Origin and Spread of Nationalism:1991)
In painting, words can only be regarded as a tool for the description and simply and addendum of a work. But I do not want to use this tool to describe my work, but to use the word as a sign, and take its existence as my theme. The reason I use language as a material for my work is that, it reflects a sense of community more than any other paintings. Therefore, I use various methods to figure out the texture of their perception.






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