Bi Rongrong Solo Exhibition —Pattern XI-∞
Originally inspired by posters and graffiti seen on British streets, the artist then furthered her investigation into the patterns spotted on the exterior walls and interior decorations of ancient architecture in European countries and Middle East, as well as on textiles and articles of everyday use. The patterns, on the one hand, could be deemed as “skin” of different cities and cultural entities; and on the other, they are also a kind of fragmented records of the artist’s life trajectory. As an organic whole, they are somewhat “de-centralized”, unpredictable and yet constantly expanding towards an infinite (∞) “collective”. Ultimately, it would result into a map-like, or say “topological”, dynamism, which could cast light on the development of the artist’s aesthetic vision and life experience during the course of time. Currently, no matter where the patterns are from, collectively they demonstrate a kind of “eastern” aesthetic influence on European cultures. Such is both the result of the artist’s own interest and artistic choices as well as a pleasant surprise that is beyond her expectation.
Through manual or digital processing, Bi Rongrong has transformed the patterns she collected into a variety of mix media works including painting, collage, fabrics, video and installation. Not only has the artist projected her comprehension and imagination of the patterns onto the works, but she has also integrated her memory, insights and experience into them. More importantly, the process features a combination of fragmented “cultural skin” and individualized “aesthetic taste”. If “ego” could only exist in its observation, perception and actions on the world, Bi Rongrong’s practice following “patterns” could be seen as a journey of discovery of “ego”, its interplay with the world as well as the poetry and melancholy scattered along the way.