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一般社団法人・日本国際複合芸術協会

〒 162-0823 東京都新宿区神楽河岸1-1 

東京ボランティアセンター No.104

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 Qin Chaolun

Born in Guilin, Guangxi, in 1995

 

Enrolled by the Sculpture Department of Tianjin Academy of Fine Arts in 2014

Department of Tianjin Academy of Fine Arts in 2017

 

the honour to get the honorable mention of the 7th Exhibition Season of Sculpture

Personal exhibition:

From Behavior to purpose - Materials and experiments in art, Guilin Huaqiao Art Museum, Guilin, Guangxi, 2018

 

Joint exhibition:

Area in No One, Koala Space, Tianjin, 2018

 

Beyond the Wall, Xi 'an Contemporary Art Exhibition,Xi 'an contemporary Art Museum, Xi 'an, Shanxi, 2018

 

Excellent Works Exhibition of Teachers and Students of  Tianjin Academy of Fine Arts, Qingdao Sculpture Museum, Qingdao, Shandong, 2018

 

Zhengzhou International Exhibition of Young Artists, Zhengzhou Sculpture Art Museum, zhengzhou, Henan

泉一 Spring No.1

2018

"Spring" was used the waste wood of others to collage on the board, waving a chainsaw at will, and using fire, dripping wax and other experimental techique. Under the effect of this disorderly and disorderly behavior, I think different aesthetic feeling is generated. It seemed that there was a mysterious force pulling me in this unconscious state of work that I felt when I finished this work. These wastes seem to come back to life, which makes me feel that life can exist in a different state. This is how the work stands - meaningless things give meaning, and disorderly things become orderly.

泉二 Spring NO.2

2018

The original shape of this work is a circle, which is cut with a curve. No incision passes through the center of the circle, and a small circle in the middle is also outside the center of the larger circle. All of this implies never reaching the center of the circle, that is, moving closer to the center but never get to the center (because when you get there it's downhill). The word "Weiyang" is originated from the ancient Chinese poetry collections. It comes from the ancient people's hope for the happiness.

未央 The circle

2018

This set of works is my reflection on the birth of life caused by myself. In a sense, it is the product of desire. Such behavior has a purpose, and the purpose is the product of consciousness. But desire is not always with us, so there seems to be something else closer to the source, and to think about what this thing is is to begin the other direction -- the opposite of purpose -- of the unconscious.

生门一、二

The door of birth No.1&No.2

2018

镜花 Mirror

2017

The a pair of sculptures are a consideration of essence and phenomenon that whether the  things we saw is real or not .And what standard do we use to judge the differences between each other. They were stripped from a full trunk. One is engraved in vivid body, the other is pieced together a rough body. I try my best to make them be similar with the same materials. And I want to prove they are equal. A trunk makes two sculptures. But the property of wood is not changed at this changed process. Also it is the essential property of the sculptures. So in respect of the wood property, they have no difference. Something was engraved but something was abandoned, finally, all is one.

山峰三、四 Female No.3&No.4

The combination of propylene, gypsum and plastic creates great texture effects, and the proper stacking and flow form a unique texture. The choice of this symbol is the analysis and exploration of my inner heart. Black highlights a sense of oppression. In this symbol, red is like a dark current bubbling.