《青苔之轻》MOSS Yu Ji Solo Exhibition
于吉的创作一直与自然相关，借用自然原型再延展的手法，用柔美、轻巧、敏感加以归纳，对自然物干预手段的不着力之轻，营造出无限的禅意。正如她对“青苔”主题的阐述：“水生苔藓植物，生长在水中或陆地阴湿处，无根无茎无叶。它不知从何处开始生长，也未知在那里收止。它颜色神秘，不易觉察地变化。”悬浮的方式与表皮的平淡互相交织将观者引领到自然中毫不起眼的场景里。在此，无需联想，静默地体验、感受足矣。于吉的才华在于拥有微弱地控制或者有限度地介入作品内在关联的能力。其创作意图并不在重塑景观，而是沉湎于微观的物质质感。
对象复制与时间痕迹是于吉近期作品的主线，“关于一个想法的一个实验”以摹写、影印树枝光影来探讨临摹动机下实景和虚影互相对应的依托结构。方法上借用科学实验式的标本采集模式，把客观性作为工作的前提理由。“绿毛怪”则是对普通鹅卵石进行技术处置，耗时钻洞、植入脱发，将自然物、人体产生之物嫁接成奇异的感性表述。“从2005年到2012年的478个小时”同样以时间性为线索，在时段概念中以设定、记录、累计日常工作量为定义，脱发被重新利用，精密的制作技艺与日志式体验连接铺展着作品意义。于吉沉浸在常态化耗时的劳作中，以自我确认的方向，不断垒叠简单又令人迷惑的含义，并将此转换成作品暖味的物质关系和来自生活的仪式化模式，以此规整俭省的美学界限。“污垢1202”对表现力的追寻仍然集中在物质自身能量方面。色彩关系不是来源于着色、染色系统，白蜡经过烧烤溶解导致黑白色变，偶然因素与预设的框式方块排列的结构形成有效地对随意性轻度的互动把控，铸就着作品细腻、寂静以及物质变异的条件。
于吉力图使作品在逻辑上呈现干净、有节制的语言属性。以对痕迹的重新定义来自我肯定一系列个人行为的价值。她用静态、充满细部的替代物混淆着真实自然，纯净着视觉所及的色彩，含蓄地轻触我们的感官。正是对自然物引申出的图像持续关注，以及连续的造型思想表述趋向，集成了她作品风格的基本范式。
丁乙 2012.6.22
Yu Ji’s creation is always related to nature. She creates an infinite sense of Zen by extending the model of nature, summing it all up with softness, lightness and sensitivity, intervening in things natural in such a light manner that it seems little force is applied, as she states in describing the theme of ‘Moss’: ‘A bryophyte that lives in water or damp places on the land, without roots, stocks or leaves. It is not know where it begins to grow or where it ends. It has mysterious colours that change imperceptibly.’ The way it suspends itself and the plainness of its surface are interwoven in such a way that the viewer is taken to a scene that is unstriking in nature. There is no need here for association as it is sufficient to experience it, to feel it, in total silence. Yu Ji’s talent lies where she has the ability to microly control the inner connection of the work or intervene in it in a limited manner, her intent not to re-shape the view but to indulge in the materiality of things on a micro basis.
The mainline that runs through Yu Ji’s recent work is reproduction of objects and traces of time. ‘An Experimentation with a Thought’ explores the support structure in which the real view interacts with empty shadows, driven by the motives of copying, by way of copying and photocopying the light and shadows playing on the tree branches. In terms of its methodology, a model of sampling in scientific experiment was adopted, with objectivity as the premises for the work. ‘Green-haired Monster’ is a technical treatment with ordinary pebbles, in which things natural and things created by human body are grafted to create a strange expression by spending time in drilling holes and planting shed hairs. Likewise, ‘478 Hours from 2005 to 2012’ is based on time as a clue, setting, recording and accumulating the daily work load as a definition in the concept of time segments, in which shed hairs are re-used and sophisticated manufacturing technology is connected with logbook-like experience in a way that spreads the meaning of the work. Yu Ji submerges herself in the time-consuming labour and, by taking a self-determining direction, she keeps heaping on meaning that is both simple and fascinating, turning it into an ambiguous material relationship of the work and a ritualized model that originates in life, thus defining a frugal aesthetic boundary. ‘Dirt 1202’ has its focus still on the force of matter itself in its pursuit of expression, in which the relationship of colours does not come from the system of colouring and dyeing; instead, white wax, after burning, melts and leads to the colour-changing of black and white, with incidental elements and the structure of pre-set frame-like squares forming a dynamic control that is effectively and randomly done, casting conditions for exquisiteness, quietness and the change of matter in the work.
Yu Ji tries to present a linguistic quality in her work that is logically clean and restricted, and she self-confirms a series of individual values by re-defining traces. With still substitutes filled with detail, she confuses the real and the natural as she purifies the colours that touch the eye, brushing against our sensory organs in a most subtle way. It is her continued attention to the images induced from things natural and her tendency to express continual figure-making thoughts that forms the basic paradigm of her style.
Ding Yi, 22 June 2012
对象复制与时间痕迹是于吉近期作品的主线，“关于一个想法的一个实验”以摹写、影印树枝光影来探讨临摹动机下实景和虚影互相对应的依托结构。方法上借用科学实验式的标本采集模式，把客观性作为工作的前提理由。“绿毛怪”则是对普通鹅卵石进行技术处置，耗时钻洞、植入脱发，将自然物、人体产生之物嫁接成奇异的感性表述。“从2005年到2012年的478个小时”同样以时间性为线索，在时段概念中以设定、记录、累计日常工作量为定义，脱发被重新利用，精密的制作技艺与日志式体验连接铺展着作品意义。于吉沉浸在常态化耗时的劳作中，以自我确认的方向，不断垒叠简单又令人迷惑的含义，并将此转换成作品暖味的物质关系和来自生活的仪式化模式，以此规整俭省的美学界限。“污垢1202”对表现力的追寻仍然集中在物质自身能量方面。色彩关系不是来源于着色、染色系统，白蜡经过烧烤溶解导致黑白色变，偶然因素与预设的框式方块排列的结构形成有效地对随意性轻度的互动把控，铸就着作品细腻、寂静以及物质变异的条件。
于吉力图使作品在逻辑上呈现干净、有节制的语言属性。以对痕迹的重新定义来自我肯定一系列个人行为的价值。她用静态、充满细部的替代物混淆着真实自然，纯净着视觉所及的色彩，含蓄地轻触我们的感官。正是对自然物引申出的图像持续关注，以及连续的造型思想表述趋向，集成了她作品风格的基本范式。
丁乙 2012.6.22
Yu Ji’s creation is always related to nature. She creates an infinite sense of Zen by extending the model of nature, summing it all up with softness, lightness and sensitivity, intervening in things natural in such a light manner that it seems little force is applied, as she states in describing the theme of ‘Moss’: ‘A bryophyte that lives in water or damp places on the land, without roots, stocks or leaves. It is not know where it begins to grow or where it ends. It has mysterious colours that change imperceptibly.’ The way it suspends itself and the plainness of its surface are interwoven in such a way that the viewer is taken to a scene that is unstriking in nature. There is no need here for association as it is sufficient to experience it, to feel it, in total silence. Yu Ji’s talent lies where she has the ability to microly control the inner connection of the work or intervene in it in a limited manner, her intent not to re-shape the view but to indulge in the materiality of things on a micro basis.
The mainline that runs through Yu Ji’s recent work is reproduction of objects and traces of time. ‘An Experimentation with a Thought’ explores the support structure in which the real view interacts with empty shadows, driven by the motives of copying, by way of copying and photocopying the light and shadows playing on the tree branches. In terms of its methodology, a model of sampling in scientific experiment was adopted, with objectivity as the premises for the work. ‘Green-haired Monster’ is a technical treatment with ordinary pebbles, in which things natural and things created by human body are grafted to create a strange expression by spending time in drilling holes and planting shed hairs. Likewise, ‘478 Hours from 2005 to 2012’ is based on time as a clue, setting, recording and accumulating the daily work load as a definition in the concept of time segments, in which shed hairs are re-used and sophisticated manufacturing technology is connected with logbook-like experience in a way that spreads the meaning of the work. Yu Ji submerges herself in the time-consuming labour and, by taking a self-determining direction, she keeps heaping on meaning that is both simple and fascinating, turning it into an ambiguous material relationship of the work and a ritualized model that originates in life, thus defining a frugal aesthetic boundary. ‘Dirt 1202’ has its focus still on the force of matter itself in its pursuit of expression, in which the relationship of colours does not come from the system of colouring and dyeing; instead, white wax, after burning, melts and leads to the colour-changing of black and white, with incidental elements and the structure of pre-set frame-like squares forming a dynamic control that is effectively and randomly done, casting conditions for exquisiteness, quietness and the change of matter in the work.
Yu Ji tries to present a linguistic quality in her work that is logically clean and restricted, and she self-confirms a series of individual values by re-defining traces. With still substitutes filled with detail, she confuses the real and the natural as she purifies the colours that touch the eye, brushing against our sensory organs in a most subtle way. It is her continued attention to the images induced from things natural and her tendency to express continual figure-making thoughts that forms the basic paradigm of her style.
Ding Yi, 22 June 2012
