Where was gold and neodymium born?

Jin Nd was born in Qinhuangdao, Hebei Province in 1984. Graduated from the Sculpture Department of Central Academy of Fine Arts in 27. Now living and working in Beijing.

Chinese name: Jin Nd

Nationality: Chinese people * * * and China

Nationality: Han nationality

Birthplace: Qinhuangdao, Hebei

Date of birth: 1984

Occupation: Young artist

Graduation institution: Central Academy of Fine Arts

Major achievements: self-portrait: female art in China.

In Jin Nd's early works, the heroines in fairy tales, such as Mermaid and Little Red Riding Hood, all appeared in a "beautiful" posture, but their bodies were slightly traumatized. But these wounds are not cruel and bloody, but naturally blend in with the characters, as if they always exist as a part of the body. Most people's impressions of "fairy tales" are perfect, but Jin Nd's works try to break the appearance of fairy tales, or to clarify people's misunderstanding of fairy tales for a long time. In her works, she emphasizes the importance of trauma to growth: pain is also a part of growth, and you can really grow up after experiencing the necessary pain.

In recent years, Jin Nd's creation has formed a unique personality, no matter from the theme or language. The theme of Jin Nd's works is consistent, which is closely related to her emotional experience. During the four years from graduation to her first solo exhibition, Jin Nd's outlook on life and art has been changing. For example, Lover and Intimate Alienation are narrative coherence, which are the process of a woman from conception to delivery, covering the artist's thinking about the relationship between the sexes and exploring the emotional relationship deeper than Night. In the image of Jin Nd's works, her usual images all seem to be the characters coming out of fables, and the grafting of female body and animal trunk is as convincing as fairy tales. The images created by gold and neodymium are both realistic and transcendental, but they make people feel more interesting and realistic in life. The image changes from a "horse" in her early years to a "deer" gradually, which is also her constant self-concept and layer-by-layer excavation of gender roles as a female artist. This kind of thinking and divergence based on the creator's own makes her works appear real and full of tension.

In addition to continuing the aesthetic, direct and emotional narrative features that Jin Nd has had since the first formal work, Jin Nd is constantly looking for materials that can better show her sculpture language. For example, in order to convey a kind of aestheticism in her works, she can spend countless days and nights looking for and experimenting with this kind of resin material close to the texture of human skin from the early use of FRP coloring. In Lovers, because of the proper use of materials, the marble-like natural color materials are soft and moist, and the whole work gives people a very fairy tale, which makes the men grow up in the belly of female horses. Such an obvious presentation with gender superiority does not know whether it will anger some male audiences present, and it also shows the world outlook of Jin Nd when he grows up more maturely.

Interpretation of the artist

From the first trace of scribbling on the wall as a child to the last trace of imperfection worn away from the sculpture now, Jin Nd has also experienced the transformation of his life while creating his own works. She herself once said that everyone will have all kinds of constraints in life. Life is such a state that many things bind you. You must either fight against it or give in to it. At one stage of writing, she said that's what she wanted to express. Jin Nd once discussed the bondage and pressure with her grandmother. That discussion made her know that compared with her young self, all kinds of commitments from society, family and self will increase with age, and we can't escape, so smile.

Judging from her early works, Jin Nd is a girl with a strong fairy tale complex. She has been obsessed with fairy tales since she was a child. She has read many unknown fairy tales at home and abroad, such as Green, Andersen and so on. She said that her myopia was the result of reading fairy tales day and night during a summer vacation in primary school. When it comes to the reason why she chose to study sculpture in those years, it was only because when she took the elective course, the words "It's a pity that you don't study sculpture" of the dean and the sculpture teacher moved her.

But after seeing her success, people think that she is Jin Nd, who was born in 1984, and one of the few people who got married early in the 198s. She still has the aesthetic temperament of a little woman, and like her works, she is somewhat subtle but confident. "Not bad, you can use this major to support yourself." Jin Nd described his living situation like this. She said that her ideal working and living condition is that she doesn't have to make sculptures for the sake of sculpture, and she can support herself without making exhibitions in two or three years. She just does what she wants, and no one urges or forces her. For her own works, she thinks that although some works are magical in form and some are very close to life, the two series of works, taken together, are actually lonely.

Qiu Ma's Sky

Wen/Feng Boyi

Jin Nd said that she just graduated from the Sculpture Department of the Central Academy of Fine Arts, and the first exhibition I participated in was "Playing the Gallery" planned by me in Beijing 798 Tokyo Gallery. I remember that it was the summer of 27. When watching the exhibition of graduates of sculpture department of Central Academy of Fine Arts, the graduation creation of Jin Nd gave me a fresh feeling. Perhaps she is tired of reading too many works that are flooded with contemporary art in China, and her graduation work My Fairy Tales is a sunny, bright, direct and beautiful interpretation.

There is no cruelty and youth, but it has a "rising" that breaks through the network restrictions, just like the natural attributes of birds spreading their wings and soaring when they grow up; Or in a bathtub with a private space, weaving and turning it into a mermaid's free yearning. In the series of "Shedding-Feathering", under the mapping of translucent curtains, several self-incarnated puppets float and diffuse in the scenery outside the window and in their own rooms. I guess it's her longing for watching the moon by counting the stars in front of the window at night, and her desire to boast about the transformation and emergence of butterflies in daydreaming. Perhaps, it is precisely because of the doubt and criticism of grand history and reality that we often fall into an empty embarrassment that the artist's subjective mood is projected into that poetic fantasy context, and the necessary value of spiritual narrative discourse is conveyed by the growth feelings and ideals of characters, so that the anxiety brought by the survival of modern cities and the resulting depressed and lonely state of mind can be eliminated. Therefore, life presents its texture and tactile feeling, which is the beauty of life and a realistic dependence that supports our life.

Actually, it is not difficult to express these feelings about the works. Different people have different opinions. The key is how to judge the position and characteristics of Jin Nd as a female artist after 8s from the vertical dimension, as well as the relationship between her realistic background, her artistic style and aesthetic taste and the previous generation artists in concepts and methods, and even the typicality of the differences.

from the perspective of modern and contemporary art history, China's avant-garde art has always been a stance of cultural radicalism, firmly believing that art can change the reality, and the trend of "art for life" has become an obvious trend. This is due to the tragic historical situation in modern and contemporary China and the constantly turbulent social crisis. Therefore, reflecting on history, criticizing reality, questioning order, etc. in the form of "literature carries Tao" has become one of the main ways of China's avant-garde art. However, "art for art's sake" has always been covered as an undercurrent. With the 3-year process of reform and opening up, the transformation of social reality in China has become a strange development model that attracts worldwide attention. Although it still faces many social problems, to some extent, China has got rid of poverty and weakness, and has begun to show its self-confidence, strong posture and even the upsurge of nationalist sentiment. Thus, it also provides the discourse conditions for the creation of "art for art's sake" and "art for emotion". In this respect, especially in the life value orientation of the younger generation, it is more obvious. In vulgar terms, it weakens the grand narrative of humanistic care and begins to pay attention to the expression of personal daily survival experience and emotions. On the one hand, this tendency of convergence depends on the changes of the times, and personal destiny is not passively trapped by the times and difficult to choose, but just has more choices suitable for its own survival; On the other hand, on this basis, personal destiny depends more on self-struggle, paying attention to self-sufficiency and paying attention to existence has its own internal logic of change.

Compared with artists born in 195s and 196s, Jin Nd, as the post-8s generation, grew up in a new social and cultural norm and order, which was based on marketization. In the process of her growth, there is no material shortage, and the history and existence of individual life are endowed with more and more significance. Her art can be said to be a narrative of the actual experience of individual existence. This kind of experience is not a resistance to reality, but a dialectical relationship with reality. Because survival is not a problem for her, her problem is the object and way of choice. She has got rid of the wishful innocence of art interfering in life, and is more inclined to create her own discourse space and express her personality and feelings through her works. I think that on this basis, I will comment on Jin Nd's artistic creation. Her series of works "35 Degrees 7" and "Cold Light" are to infiltrate art into the scenes of daily life, such as a clear water, giving a straightforward aesthetic feeling, which does not mean denying the daily life of modern cities. On the contrary, it makes people feel her infatuation with warm daily life and her careful experience of stable and delicate life. Life itself is complicated, and after simplifying and purifying the imagination, it must appear simple and beautiful. The images she created are both realistic and transcendental, but they make people feel more interesting and realistic in life. When gold and neodymium strip away the secular interests in emotion, the visual image shows the charm of nature. Emotional communication and emotional changes are also fully and naturally expressed in the same picture, which hides the artist's subjective intervention in the role more deeply and avoids the mandatory constraints that may be caused to the audience by excessive use of close-ups and close-ups. Third, Wild Mountain strives to restore the original appearance of life form in visual expression. The living environment and natural landscape in the mountainous areas of southern Shaanxi described by the camera, the endless mountains, large and small slopes and dim farmhouse houses at the foot of the mountains all maintain the original beauty of the mountain style. This is a true, simple and plain beauty, but also a rough, simple and vigorous beauty. The main theme of the film is winter, where the mountains mixed with stone and soil are covered with a layer of gray-yellow color, and the yellow adobe mansion of the gray-gray family is located in the prominent part of the picture, giving people a dignified and desolate feeling. When the camera enters the gray house and the autumn velvet house respectively, what is presented to us is still the "natural landscape" that is almost unadorned. But just as the camera shows us the "natural original form" of life, the director also requires that this kind of display must be hidden and not exposed, without traces. In other words, the film should not only retain the natural color of Qinchuan's rural customs painting, but also give this natural beauty an artistic rhythm and artistic conception. Film is the art of light and shadow, and light and shadow are the carving knives that carve the original life into works of art. However, the use of light and shadow in Wild Mountain is very cautious. On many occasions, artists try their best to maintain the natural light atmosphere of the mountain village. We are familiar with the scene of Hehe, Grey Grey and Gui Lan drinking and guessing treasures, which skillfully uses the moment when the sun goes down. The real dusk atmosphere inside and outside the house embodies the feelings of farm life. This may embody the director's artistic view and aesthetic view. "Wild Mountain" is good at visual thickness, but it always shows good control ability and the ability to grasp the sense of proportion. Therefore, Wild Mountain gives people a poetic feeling on the whole. This kind of poetry is sometimes not in the place where it shows a distinct tendency, but in those vague and unclear places. For example, autumn velvet plows the ground, gray cows plow the ground, cows with loose covers graze leisurely, gray cows lie on the turned-up land, and the bolts are raised above their heads. This set of shots actually expresses the farmers' ideals, happiness and pleasure, and this attachment to the land is the connection point between gray and autumn velvet, and the very beautiful things and very sad things in the farmers' spiritual world are also condensed on this point. Zhuangzi once told a fable, which expressed this classical aesthetic spirit very accurately. He said: "The emperor of the South China Sea is Shu, the emperor of the North China Sea is neglect, and the emperor of the Central Committee is chaos. Shu and suddenly meet in a chaotic place, and chaos treats them very well. Shu and suddenly seek to repay the virtue of chaos, saying,' everyone has seven senses, and he eats and drinks by seeing and hearing, which is unique.' Try to chisel it. If you cut a hole in the day, you will die in chaos on the seventh day. "This fable vividly and implicitly expresses China's traditional aesthetics' cognition of beauty, and" Wild Mountain "communicates this cognition in some ways, so that we can actually feel the artistic effect of overall harmony in modeling, as well as the warmth and touch of direct communication with her heart.

Jin Nd also said that she met Tan Tianwei, her lover, when she participated in the "falling apart" art exhibition planned by me in 28 (every day, looking for Jin Nd to exhibit her works), and they soon got married, and their feelings were very deep. This is a by-product of my curation, and it is a matter of virtue. Look at Jin Nd's new work, which is full of happiness as a woman and even willing to "be a cow and a horse". Her new works "Weak Water" series and "Night" series are characterized by the image of a man and a woman. Through her/him and their specific behavior, they gain more and deeper radiation on taking love as their life in a realistic and allegorical way, thus enriching and extending the inherent meaning of words. The "man and horse" here is the embodiment of ideal, the decoration of poetic life, beautiful and beautiful. Descartes said that animals are biological mechanical devices, and in Gulliver's Travels, horses are the embodiment of God, more serious, noble and rational than people, and they exude the fragrance of grass. This perspective of the existence of characters and animals can examine the existence of human beings on the level of pure biology and botany. Obviously, when conveying emotions, Jin Nd is doing it in a way of restoring life by feeling. She consciously chose the experience in their lives, and frankly expressed the figure that flashed in real life through the horse ketone body. That figure was reshaped by the sculpture style of Jin Nd, which is a fable of her narrator and a fable of the horse. This fable form itself is the naming of the mood of life, which is the direct development of the survival experience she is experiencing and the true portrayal of her inner love. It can be seen that the intention of Jin Nd is to symbolize and realize the images of a group of key people and horses, and at the same time give visual tension and effect to the content and form of the works. She expresses her love and expectation in an allegorical narrative way, so that the audience can convey the power of love and feel the throb of happiness in the field she has set.

Of course, this fabled narrative strategy is undoubtedly clever, but it is also a challenge for artists. As an allegorical expression, its success depends on the artist's understanding of the concept of love between men and women from a certain angle. In other words,