April Yan Jin
By April Yan Jin
With history at a turning point, there are inexorably consequences such as sever doubts, riotous protests and radical resentment of social rules and the current regime; however, those problems and distrusts are not new to us. According to Nietzsche’s view on modernity, which is “a sense of coming back into beings, which moves forward by echoing the past” (John Orr, Cinema and Modernity, 1993 mankind has always tended to be inquisitive about things beneath the surface, until we believe we have approached the “truth”. There have always been questions about common values, rebellion against authority, and wonder at existence throughout human civilization. In light of Leo Tolstoy, “every time there have been conquests there have been conquerors, every time there have been revolutions in any state there have been great men”; whereas, the question and ambivalence over the definition of “greatness” remains.
As we are in an era of information-overload, every theory and its utterance is in an oracular and yet contradicting relationship with each other, which waves a tangle web of inaccessible complexity that brings no solutions. This current phenomenon resembles the state of writer’s block: scratching your head, pulling your hair, struggling to list those ambivalent ideas into a logical order.
Nonetheless, truth does not necessarily equal logic. Although everything does happen for a reason, irrational events are of the reasonableness we could not understand, which could be fully conveyed through an artistic method. The theme of the project, hence, revolves around “contradiction”.
Without contraries is no progression.
– William Blake
Since the angle from which we look out could dominate the entire outcome of one single picture, what a picture could relate to personal experiences/ reminiscence is a wide range of possibilities. To elaborate the connection between the work and spectators, I would like you to have considerations over “the specific joy of receiving from the external world images that are usually internal… of seeing them inscribed in a physical location, of discovering in this way something almost realizable in them” (Metz, Essais Sémiotiques, 1977, P.135-6).
In a nutshell, you are free to carry out the project through whatever pathway you feel that is the most adequate and convenient, to say what you want to say not what I want you to say.
So, surprise me! J
Metz, Christian, 1977, Essais Sémiotiques, Klincksieck Paris
Orr, John, 1993, Cinema and Modernity, Polity Press
April Jin, 24493406, New Media, 2010 – 2013
Winchester School of Art, Uni of Southampton