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Lot Essay
As one of the few prominent woman artist of China, Lin Tianmiao, was originally a textile designer, in which her technical capacity most definitely discloses and capitalizes to summon her social activism in to an aesthetic language. Despite her late discovery of art, Lin surprised the world with her innate creativity that seem prepared at all times to confront and critically point at issues and shadows regarding contemporary China today.
The finest sensuality is tuned with Lin's aptitude in shaping organic forms that infiltrate throughout her oeuvre as an essential performative mechanism for a tangible view point and also as a formulaic notion of the female. Her uncanny insight is undeniably featured in phantasmagoric pictorial language in Here or There? (Lot 615). The ploy features series of women ostensibly wrapped, their bodies distorted into vaguely discernible organic forms. The meticulous control in conveying the tactility of painterly texture that mimic her textile sensitivity; she crafted her own silent zone of mysterious beings of seductive complexity, appearing as a visceral installation, possibly due to the arbitrary placement of the subjects and their environment; furthermore accentuated with the contrasting colors to distinctively utter a collage-like 'placement' of a subject. By confessing a stunningly pessimistic viewpoint, she continues to surprise the spectators with her breadth of variation on a single motif. In suffocating wraps, the face is concealed with a pinch of imprisonment, provocatively questioning our awareness of social order and the placement of women in it. The settings that Lin conscientiously arranges are that of destroyed households, agricultural lands, nature and interior of a traditional household, which in relevance to her bizarre protagonist trace her political criticism with her melancholic tones on historical negligence. Through the spatial tension in between the series of photographs, she exploits the trait of sequential continuance to allegorize the ongoing negative cultural effects of modernization; in specificity, of women's role that remain rigidly unchanged since the ancient days, by relating the subjects to agricultural surroundings, thus, implying in sarcasm of their low social hierarchy, as a status given by the nature of law.
Lin maintains the notion of sequence and infinity and threads it into Signal (Lot 614). Here, the spectator can detect the feminist feature of weaving and sewing. In gentle washes of the fair contouring of the hand in soft blur, Lin again executes her tactile texture that seem delicate and vulnerable in comparison to her sharp chromogenic prints. Printed on a wool-felt medium, the hand signal resonates the hand gesture of weaving. Lin's delicate sophistication in implication is her unique premeditation and which also functions as a theatrical device in creating visions of wonder, where the perception becomes gradually contemplative with the spectators engaging scrutiny for traces of wool. Her intimate meditation of interweaving reveals the strings of social concerns on female roles that are in reality; knotted, netted and binded in conflict, in spite of the rapid growth of modernization, which supposedly should liberate the two genders in neutral form.
The finest sensuality is tuned with Lin's aptitude in shaping organic forms that infiltrate throughout her oeuvre as an essential performative mechanism for a tangible view point and also as a formulaic notion of the female. Her uncanny insight is undeniably featured in phantasmagoric pictorial language in Here or There? (Lot 615). The ploy features series of women ostensibly wrapped, their bodies distorted into vaguely discernible organic forms. The meticulous control in conveying the tactility of painterly texture that mimic her textile sensitivity; she crafted her own silent zone of mysterious beings of seductive complexity, appearing as a visceral installation, possibly due to the arbitrary placement of the subjects and their environment; furthermore accentuated with the contrasting colors to distinctively utter a collage-like 'placement' of a subject. By confessing a stunningly pessimistic viewpoint, she continues to surprise the spectators with her breadth of variation on a single motif. In suffocating wraps, the face is concealed with a pinch of imprisonment, provocatively questioning our awareness of social order and the placement of women in it. The settings that Lin conscientiously arranges are that of destroyed households, agricultural lands, nature and interior of a traditional household, which in relevance to her bizarre protagonist trace her political criticism with her melancholic tones on historical negligence. Through the spatial tension in between the series of photographs, she exploits the trait of sequential continuance to allegorize the ongoing negative cultural effects of modernization; in specificity, of women's role that remain rigidly unchanged since the ancient days, by relating the subjects to agricultural surroundings, thus, implying in sarcasm of their low social hierarchy, as a status given by the nature of law.
Lin maintains the notion of sequence and infinity and threads it into Signal (Lot 614). Here, the spectator can detect the feminist feature of weaving and sewing. In gentle washes of the fair contouring of the hand in soft blur, Lin again executes her tactile texture that seem delicate and vulnerable in comparison to her sharp chromogenic prints. Printed on a wool-felt medium, the hand signal resonates the hand gesture of weaving. Lin's delicate sophistication in implication is her unique premeditation and which also functions as a theatrical device in creating visions of wonder, where the perception becomes gradually contemplative with the spectators engaging scrutiny for traces of wool. Her intimate meditation of interweaving reveals the strings of social concerns on female roles that are in reality; knotted, netted and binded in conflict, in spite of the rapid growth of modernization, which supposedly should liberate the two genders in neutral form.