第三十五期

The 35th Workshop Project

OCT Boxes Art Museum

Artist: Lin Zheng, Pan Zejia

Opening: 2022.03.27 16:30 

Organizer: OCT Boxes Art Museum

Coordinator: Oil Painting Department Curatorial Group of Guangzhou Academy of Fine Arts

Project Directors: Zhou Li

Curator: Deng Zhiting

Work Team: Guo Yan,Deng Zijun,Yuan Zeqiang,Deng Zhiting,Chen Sijia,Zeng Yun,Lin Yun,Shi Jiaqi

Graphic Design: Lin Wanting

Exhibition Time: Tuesday to Friday 10:00-18:00, Saturday to Sunday 10:00-20:00

Address: OCT Boxes Art Museum, Shunfeng Mountain Park(South Gate), Shunde District, Foshan City.

“第二自我”的概念源于荣格（Carl Gustav Jung）的心灵观，如果“自我（ego）”指的是心灵的意识层面，那么“阴影（Shadow）”则指向的是反面的潜意识，也是我们未被充分发展的功能或被压制的个人潜意识的内容。每个人的基本的自我认同，其实在很早集体无意识中已经成型，起初发生在与母亲、家庭的关系中，之后则是不断地延伸并纳入到广泛的文化社会环境中。在此过程中，个体的某些活动与思想倾向会被家庭/社会所接纳，但某些会遭到质疑和拒绝。因此在这种长期以往的集体规训中，自我认同便由他人和外界社会的影响而塑造形成，但那些被质疑的冲动和倾向却不会消失，而会融汇在一起变成“第二自我（Alter-ego）”的形象，存在于每个人的潜意识的浅层。“第二自我”也是荣格所说的“阴影”， 就像人无法跳过自己的影子，而我们也没有办法逃脱受压抑的心灵世界。

华侨城盒子美术馆35期驻地项目展览的两位青年艺术家：林铮和潘泽嘉，将会呈现9件架上绘画和装置作品。本次两位艺术家的作品都有非常明确的“物”的意象，例如林铮以魔法为主要线索的：魔法棒、镜子、蕾丝、硅胶、睫毛，银针等。而潘泽嘉的作品中所出现的静物，如转转车、饭盘、铁栏杆、植物等都有其完整的逻辑线索。但归根结底，艺术家们都试图去觉知和解剖潜意识里的自我，或许在其中能够窥探他们亦或是我们自身的影子。

幻想和危险的迷思

对于理性的人来说，压抑的经验、非理性的内容总会通过潜意识里的梦境或瞬间迸发的灵感出现，这也是意识和潜意识之间的一个平衡，也就是荣格所说梦所奉行的“补偿原则”，以便令自我意识层面的态度达到平衡。林铮在早些年就萌生了创作关于魔法和少女为主题的作品想法，很大程度上源于自童年时期植根于记忆里系列的动漫，时至今日，对于魔法和超能力的幻想依然潜藏在意识中，而其中的幻想和迷思或许是对现实生活的补偿而完成自我整合的圆满。魔法棒、镜子、蕾丝、睫毛等符号指向了青春活力的少女表象，但在蕾丝之下的是像人皮肤质感般的硅胶和蜡，以及刺入其中的的银针又暗含了一种不安、危险但又充满暧昧的气氛。软蜡在创作时从固态融化再凝固的过程也通向了艺术家不时要禁锢、封闭、压抑想法的倾向。虽然只有极少数的人才能到达自我整合和圆满之境，但在跟“第二自我”互相和解和平衡也是其中的一条路径。

每一次叩问，都会有回音吗？

潘泽嘉以日常静物来暗喻在景观下的质疑和态度，作品里的“物”都被消解了实用场景甚至是时间的维度，在实物和模棱两可的空间之间是艺术家对“在场”的叩问。作品《通道》和《转转车》里被限制的路径和方向，于亘古不变的时间流逝时、无限循环里究竟通往何处，个体又身处于何种境地和选择？也或许前进和后退都不是真正意义上的迈步。《铁饭碗》则是存在于超现实时空里的饭盘，当铁盘异质变成纸后，失去了它作为容器和工具的功能，这里的“空饷”建立于书本之上，又隐匿其中。“绿植”好像从来都是具有人为倾向的装饰物，但枯萎之后甚至是二次加工喷漆封存成“样本”模样之时，是否还能保有其原有的功能？但有时，装饰品也会异质伪装后成冰冷且锋利的刀刃，焕发出另类的张力。这些“物”的影子现于现实里，藏在潜意识中如武器一般，不断推翻又重塑着“自我”。

邓芷婷

The concept of "Alter-ego" originates from Carl Gustav Jung's view of mind. If "Ego" refers to the conscious level of the mind, then "Shadow" refers to the negative subconscious mind. It is also the content of our underdeveloped functions or suppressed personal subconscious. Everyone's basic self-identity has actually been formed in the collective unconscious at a very early stage. It first occurred in the relationship with mother and family, and then it was continuously extended and incorporated into the broad cultural and social environment. During this process, some activities and ideological tendencies of individuals will be accepted by the family/society, but some will be questioned and rejected. Therefore, in this long-standing collective discipline, self-identity is shaped by the influence of others and the outside society, but those questioned impulses and tendencies will not disappear, but will merge together to become "Alter-ego" image exists in the shallow level of everyone's subconscious. "Alter-ego" is also what Jung called "Shadow", just like people can't jump over their own shadow, and we have no way to escape from the repressed spiritual world.

Two young artists, Lin Zheng and Pan Zejia, will present 9 easel paintings and installation works in the 35th Workshop Project exhibition of OCT Boxes Art Museum. The works of the two artists this time have very clear
imagery of "object", such as Lin Zheng's works with magic as the main clue: magic wands, mirrors, lace, silicone, eyelashes, silver needles, etc. The still lifes in Pan Zejia's works, such as revolving bicycle, rice dish, iron railing, plant, etc., all have their complete logical clues. But in the final analysis, artists are trying to perceive and dissect the subconscious self, perhaps in which they can spy on them or our own shadow.

Fantasy and Dangerous Myths

For rational people, repressed experiences and irrational contents will always appear through subconscious dreams or instant inspirations. This is also a balance between consciousness and subconsciousness, which is what Jung said the principle of compensation of dream in order to balance attitudes at the level of self-consciousness. Lin Zheng came up with the idea of creating works on the theme of magic and girl in the early years. To a large extent, it originated from the series of animations rooted in memory since childhood. Today, the fantasy of magic and superpower is still hidden in consciousness, and the fantasies and myths in it may be the compensation for reality and the completion of self-integration. Symbols such as magic wands, mirrors, lace, and eyelashes point to the appearance of youthful and energetic girl, but under the lace is silicone and wax that have the texture of human skin, and the silver needles pierced into them imply a sense of unease, dangerous and ambiguous atmosphere.The process of soft wax melting from solid state and then solidifying during creation also leads to the artist's tendency to imprison, close, and suppress ideas from time to time. Although only a very small number of people can reach the state of self-integration and perfection, reconciliation and balance with the "second self" is also one of the paths.

Every time you ask, will there be an echo?

Pan Zejia uses still lifes in daily to metaphorize doubts and attitudes under the landscape. The "object" in the works are all dispelled from the practical scene and even the dimension of time. Between the object and the ambiguous space is the artist's inquiry to "presence". Where do the restricted pathways and directions in the works Pathway and Revolving Bicycle lead to when time elapses, in an infinite loop, and what situation and choice do individuals find themselves in? Or maybe both forward and backward are not really strides. Iron Bowl is a dish that exists in surreal time and space. When the iron dish becomes paper, it loses its function as a container and tool. The "empty food" here is built on books and hidden in. It seems that "green plants" have always been decorations with artificial tendencies, but after withering or even when the secondary processing spray paint is sealed into a "sample" appearance, can it still retain its original function? But sometimes, the decorations are also disguised as cold and sharp blades, giving off an alternative tension. The shadows of these "things" appear in reality, hidden in the subconscious like weapons, constantly overthrowing and reshaping the "self".

Deng Zhiting

林铮，《镜子》，2022，铁，45cm

林铮，《少女与睫毛》，2022，镜子、硅胶、铁艺、白蜡、蕾丝、化纤毛，尺寸可变

林铮，《魔法棒》，2022，铁、亚克力，100×120cm

林铮，《无题》，2022，布面丙烯，100×120cm

潘泽嘉，《铁饭碗》，2022，布面油画，70×80cm

潘泽嘉，《绿植》，2022，枯萎植物、镀铬漆，50×80cm

艺术家潘泽嘉正在导览

艺术家林铮正在导览

开幕式合照

第二自我：林铮、潘泽嘉｜BOXES 驻地新展预告

“颜磊：相机掉进了枯山水”正式开幕｜BOXES 现场