2017.09.09 – 10.23
For his project with Tank Shanghai Project Space, the artist’s first solo exhibition in China, Matt Saunders will present an interwoven group of new works comprising a site-specific multi-screen animated video, paintings and new large-scale photographs. Originating in painting and drawing, Saunders works in provocative hybrids across media and formats. His photographic works are made without the use of a camera, instead producing images, both figurative and abstract, with handmade “negatives.” Passing light through paintings onto photosensitive paper, he makes photographic images that are at once painterly and luminous. His elliptical, often abstract, animations deploy thousands of drawings across multiple custom screens, using the projected images to engage architecture as part of an immersive and multi-directional film experience. In all of Saunders’ work, media and materiality are treated as specific agents.
Photography underlies all of his practice, along with film, as a source for images and narrative. He moves the “space” of painting and moving image to within the smooth surface of the photo.
For his new video installation in Tank Shanghai Project Space, Saunders returns to his interest in the lyrical vocabulary of movement and camera in wuxia directors like King Hu, placed into relationship to painting and installed dynamically throughout the exhibition space. The new photographic works explore these dynamics of motion and space inside the genre of abstraction and within filmic, almost mythic landscapes. Another new body of work expands on the strong heroine—so central, among other things, to King Hu—through a genealogy of portraiture across cultures and up to the present day. Ultimately the passages in Saunders’ work—passages from photography into painting and back again; passages between narrative and abstraction; and passages from mediated source imagery into an embodied presentness—travel across all the work, whether moving or still.
桑德斯从绘画和素描开始，积极地尝试了跨越各种媒介和形式的组合， 颇具启发性。 他创作摄影作品的时候并没有使用相机，而是利用手工制作的“负片”生成了具象和抽象的照片。他让光线透过绘画投射在感光纸上，形成了颇具绘画性的鲜明影像。他通过在数个定制的屏幕上显示成千上万张素描实现了隐晦而又抽象的动画，并且利用投影把空间本身变成了多维度、沉浸式观影体验的一部分。在桑德斯所有的作品里，媒介和物质性都成为了其作品的特定代理。
桑德斯此次在油罐项目空间展出的新视频装置作品显示了他再次回归到对于动像和摄像机的抒情表现语言，也受到新武侠片电影运用的手法的影响，并且在整个展览空间中生动地探索了其与绘画的关系。新的摄影作品则通过几乎神话般的电影化风景，探索了抽象领域的动像与空间的生动关联。跨越各种不同文化形象谱系的新作品，进一步把新武侠片电影的核心表达对象拓展到了今天。最终，桑德斯的创作脉络——从摄影到绘画再回归摄影；叙事与抽象之间的联系； 以及从媒介素材图像到具体表达的实现——在他所有的作品中都得到了体现， 无论是动态还是静态的。