The idea of deconstruction, introduced by French philosopher Jacques Derrida referring to the breaking apart of elements traditionally combined together, is not something new for the contemporary world. We now appear to live in a culture obsessed with the breaking down of structure, going so far as having restaurants serving ‘deconstructed banoffee’ and ‘deconstructed burgers’.
This idea of entangling a united whole, be it an object or a more vague ideology, and focusing on its basic materials is something which has also influenced the art world. Looking at He Ping’s art pieces in his exhibition Persistence of Form, one can see a deconstruction of structure as his works are filled with shadows, dynamic movements and primordial forms, rather than a solid pictorial representation of an object.
“As is apparent, the images I paint do not capture definite physicality, but are rather themselves in a dynamic state of transformation dictated by the rhythm of their conceptualisation. This makes my painting a totally natural occurrence and visible consequence of the creative process.”
The images I paint do not capture definite physicality, but are rather themselves in a dynamic state of transformation
Despite the abstract facade of the works, Ping’s abstraction is, in effect, deeply rooted in nature, life and humanity as Ping still attempts to portray the human figure, rather than notions that are more nonconcrete in their representation. Ping explains, however, that while painting the human subject, it is part of “the vast cosmic space within which I explore both family and unfamiliar state of existence”.
Speaking further on this idea of the familiar and unfamiliar, Ping necessitates that even though one can deem the human figure as realistic, what the public might recognise as “realistic” and “abstract” are their own personal inferences of what he paints. In this manner, Ping attempts to deconstruct not the structure of an object he attempts to portray per se, but the preconceived notions of realistic/familiar and abstract/unfamiliar. Innovation, in this sense, is a “departure from common belief”.
Despite his focus on questioning the traditional ways of looking at art, what is interesting to note in Ping’s work is that his hold on tradition is still apparent in his use of calligraphic techniques to produce works that are more instinctive in nature.
“I wield my brush freely to express a perception or concept. Nonetheless, in the process of painting, habitual practices and techniques of Chinese character writing are indeed manifested.”
Thus, through Ping’s colourful work, the viewer is able to enjoy quintessential elements of Chinese culture with a contemporary and modern expressionistic approach.
“It is through searching in the depths of things that I discovered the infinite possibilities of painting. These possibilities may not be apparent, but they are indeed an existing component of the colourful and structural constituents of life and the universe.”
■ Persistence of Form is on display at Spazju Kreattiv until October 21.