Dangerous Areas

  • Dangerous areas Dangerous areas come from both nature and human society. In the process of human social development, whether in...

    Dangerous areas

     

    Dangerous areas come from both nature and human society. In the process of human social development, whether in the past, present, or future, dangerous areas will always appear from time to time.
     
    The emergence of hazardous areas is usually directly and indirectly related to resources, such as the destruction and shortage of resources. And we often see the expanding power and capital behind the crisis zone.
     
    The "Dangerous Domain - Red Mountain Series" aims to explore the relationship between humans and nature in the current environment through multiple concepts and structures, based on the coercion of power and capital, using an ostrich like approach, and placing it in an aesthetic illusion.
     
    So, the "Dangerous Zone - Red Mountain Series" has several meanings. Here, the natural landscape images composed of the surface texture of the Taihu stones  photographed in gardens are used to metaphor the current illusory utopian relationship between man and nature. The imperial seals affixed to these images represent the arbitrariness and greed of power and capital towards nature. The appearance of nails presents the destruction and violence brought by the material itself, but also points to aesthetic paths, such as the Eastern aesthetic conception, the freehand ink style, and the magnificent view of the earth from a bird's eye view.
     
    The act of hitting nails can also be seen as the artist's "useless dissolution and resistance", but it may be used to balance the anxiety and unease of facing reality, as well as some subtle warnings.
  • ARTIST: Qian Jin Qian Jin, male, born in Nanjing in 1960, graduated from Zhejiang University of Science and Technology with...

    ARTIST: Qian Jin

     

    Qian Jin, male, born in Nanjing in 1960, graduated from Zhejiang University of Science and Technology with a major in Art and Design in 1987. I learned Chinese painting from a young age and studied art and textile design during my university years. I started experimenting with contemporary photography in 2014 and currently work and live in Beijing.
     
    Early creations were mainly based on realism, starting from traditional objects such as historical relics and Jiangnan gardens, focusing on the expression of "temporality".
     
    At the same time, exploring the use of pinhole photography to present "ink wash images" with a strong brush and ink style from a visual language perspective strengthens the connection between images and traditional Chinese painting in terms of visual composition. At the same time, the philosophical ideas of Timothy Morton's monograph "Ecology Without Nature" serve as the foundation for constructing the work.  
     
    Faced with the rapid development of virtual technology, how to perceive and define virtual and real images has become a confusing and unsettling factor. Attempting to reconstruct the increasingly "real virtual world" from the perspective of the smallest unit "pixel" composed of digital images, while constructing a "virtual real world".
     
    Exploring both planar and spatial aspects in visual form, constructing an immersive and grid based visual narrative through unique technological means. It not only reshapes the visual space, but also expands the aesthetic and contemporary aspects of traditional Eastern art.   
      
    By creating touchable traces on the surface of paper through secondary creation of flat images, or directly transforming images using ready-made objects, a dual visual and tactile effect of "touchable images" can be achieved, in response to the anxiety brought about by the advancement of visual perception system in contemporary information technology.  

  • Qian Jin, Red Mountain No.1, 2023. Pinhole photography, rice paper print, wooden boards, cinnabar, brass and stainless steel nails. 120 × 160 cm (double). Courtesy of the artist.

  • Qian Jin, Red Mountain No.3, 2023. Pinhole photography, rice paper print, wooden boards, cinnabar, brass and stainless steel nails. 160 × 500 cm (five couplets). Courtesy of the artist.

  • Qian Jin, Red Mountain No.5, 2024. Pinhole photography, rice paper print, wooden boards, cinnabar, brass and stainless steel nails. 90 × 90 cm. Courtesy of the artist.

  • Qian Jin, Red Mountain No.7, 2024. Pinhole photography, rice paper print, wooden boards, cinnabar, brass and stainless steel nails. 80 × 80 cm. Courtesy of the artist。

  • Qian Jin, Red Mountain No.8, 2024. Pinhole photography, rice paper print, wooden boards, cinnabar, brass and stainless steel nails. 180 × 240 cm (triple). Courtesy of the artist。

  • Qian Jin, Red Mountain No.12, 2025. Pinhole photography, rice paper print, wooden boards, cinnabar, brass and stainless steel nails. 90 cm (diameter). Courtesy of the artist。