INTERVIEW | JIANAN LI: The Theater of Othering Selfhood: A Mirrored Practice
In this series of installation art, through a unique arrangement of mirrors and paintings, the innate nature of self-awareness and the universal misalignment beyond consciousness are explored. In this exhibition, emerging artist Jianan Li (李佳南. b. 2000) successfully constructed an interactive mode in which the audience and the installation become a joint artistic expression medium. As visitors walk through the space formed by mirrors and paintings, they discover their infinite symbiotic relationship with the paintings, the mirrored world, and other visitors. With the help of Lacan's theory, this installation can be seen as a display of the model of existence between the ego, the other, and the autre in the real and symbolic realms. The audience is guided into a higher dimension of observation, where they can see symbols consistent with their own image from the mirror. In this multi-layered experience, the audience can feel the collision between reality and imagination, the interactive relationship between individuals and others, and the real impact of the real world on the subject and its symbols. As mirrors and paintings alternate continuously, the boundaries between the subject and its symbols gradually blur. In this mutual opposition and reflection process, the "I" and the true self find harmony, becoming Jianan's unique sculptural method. The paintings and the installations are the ultimate products of his mental sculpture.
The following is a conversation between the curator, Lening Hou, and the artist, Jianan Li:
Curator: Jianan, when did you think of having a solo exhibition in New York?
Artist: In fact, becoming an artist has always been my aspiration. New York is where I spent most of my life in the US, and when graduation was imminent, I got the opportunity to host an exhibition. I've always believed that opportunities accumulate and must be cherished. While preparing for the exhibition, I also had to balance my studies, facing many time challenges, but I overcame them individually. Today's exhibition is a reward for my efforts. Of course, I also greatly appreciate the support of my friends.
Curator: I noticed that in your work "jammed watch," there is a prominent main character. Can you tell us in detail about this role and the creative process behind it?
Artist: On the opening day of the exhibition, a close friend offered a new interpretation of this character. He believes that in most of my works, there exists a leading character and an imaginary world formed around him. This character can perhaps be seen as a symbol of the male psyche, a tangible representation of my inner world. In the painting, he is in a meditative state, surrounded by his rich imagination. The painting shows his inner thoughts and fantasies, which are highly consistent with my emotions during creation.
Curator: The beauty of art lies in its potential for multiple interpretations. The artist's original intention and the audience's interpretation often differ. Is this also why you decided to place a mirror next to the work?
Artist: The mirror represents multiple perspectives. I hope that the audience can see their own image in the exhibition, thus forming a scene that coexists with the painting. I often see myself as an emotionally overflowing artist, with emotions playing a central role in my works. The release of emotions is essential but not enough. Through the mirror, I try to add more dimensions to the work, allowing emotions and forms to reflect each other, thereby enhancing the overall artistic value.
Curator: Your display method is very creative. I wonder if this originated from your initial concept, and how did you implement this idea?
Artist: The realization of this exhibition owes much to the assistance and support of many people. In the United States, both material and labor costs are high. We need to ensure that every exhibit and mirror is meticulously crafted. Transforming creativity into tangible objects also presents significant challenges, especially in ensuring the accurate transmission of ideas. Even though I am full of innovation and ideas, I still face many challenges during the implementation process. Communication skills are indispensable in the art field or any other industry. Although I faced many challenges in realizing my artistic dream, it also brought me profound gains.
Curator: Indeed, our passion for art is the driving force behind our endeavors. Let's discuss this piece "Yin-yang in Alaska."
Artist: This work captures my travel impressions of Alaska.
Curator: To be precise, this artwork can be seen as the quintessential representation of that experience within your Alaskan journey. It reveals the landscapes and emotions we experienced in that land and draws from the emotions and inspirations we have cultivated in this world.
Artist: The piece contains four distinct scenes, chronicling what my curator, our friends, and I in Alaska saw and felt at different times of the same day. When viewed from an orthogonal perspective to the mirror, one discerns an image that marries yin and yang. At times, we capture the majesty of nature and, at others, the allure of picturesque sites. The top right showcases the sunset, taken from the co-driver's seat. Directly below is the sunrise; the bottom left presents Alaska's blue ice caves, while the top left illuminates the aurora of the deep night. However, these images are not strictly realistic. They've undergone artistic re-creation, giving birth to fresh visual expressions.
Curator: Can this artwork be considered the core expression of your series?
Artist: Undoubtedly, it led me to ponder deeply about "what is real" and "how to approach truth." I aimed to integrate Chinese philosophical insights with varied temporal and spatial perspectives to portray the true face of Alaska. The use of mirrors is pivotal, highlighting our fleeting perception of reality. Imagine, that with every 45-degree rotation of the mirror, this element can endlessly extend a particular view, allowing us to observe minute differences in every corner. Extracting from these details to a macro perspective allows us to discern details within the whole and vice versa, a reflective and intertwined relationship that has provided rich creative inspiration. Each artwork reveals the intrinsic truths unearthed throughout this exploration.
This exhibition profoundly reveals Jianan's evolution from initial artistic self-exploration to his mature expression as a professional artist. The driving force propelling him forward is his relentless pursuit of truth. Beauty is the direct outcome of this quest, intrinsically tied to truth. Beauty doesn't exist in isolation; it coexists with truth, constituting everyone's unique spiritual world. Starting with the canvas, Jianan will continually seek and refine his unique artistic language, encompassing but not limited to painting.
ABOUT
Jianan Li (李佳南) was born in Beijing in 2000, went to the U.S. for further studies in 2017, and is currently enrolled at New York University. Throughout his growth, he was deeply influenced by painters, educators, psychologists, and his father. Highly attuned to his and others' psychological dynamics, Jianan possesses a profound interest in both the minutiae of life and global events. By absorbing and reflecting upon various information, he chose art as his primary mode of expression. His debut solo oil painting exhibition, "Skyroaming," was successfully held at the Shangzun Gallery in Beijing's 798 Art District in 2022. His upcoming exhibition,
Exhibition Title: " The Theater of Othering Selfhood: A Mirror Practice "
Artist: Jianan Li
Address: 178 Bleecker Street, 2nd Floor, New York, NY 10012
Date: October 13th - 19th, 2023 Producer: Zona Yuechen Guan
Curator: Lening Hou
Executive Curators: Yunqu Wang, Haokun Wang
Curatorial Assistant: Vincent Li
Photographers: Guang Chen, Zuxing Shi
Videographer: Yunqu Wang