There are a few terms I have often heard when people describe my work, such as: Gender, Homosexuality, Identity, Violation or Being oriental. They might be all included. But for me it is important that my works remain in a non-label-able stage. I am not doing art because it can take care of other areas of my life, but because it is an aspect itself of life.
So if I try to describe what my works are about, I would like to simply say that they are about the encounter of bodies. (Bodies here do not mean human bodies, but bodies in general) I am inspired a lot by Deleuzian theory of affect. By trying to understand life, each living individuality, not as a form but from the perspective of the complex relation between it and others, it opens a door for me to perceive and think about the unspecified form of things, which is potential but not existed.
I wouldn’t say my works are either personal or impersonal. They are post-personal to me and pre-personal to the viewers. I imagine the surface of my body is a layer of semi-permeable membrane, untying my feelings, filtering my biographies, personalities and retaining them inside me. Only affect goes through. What is expressive is not just the content, but more importantly, the becoming of new experiencing. For example, in most paintings that I have made, I try to give a kind of sensation into them or try to imbed a kind of sensitivity through the use of paint and color, as if they have the ability to welcome and desire viewers to look at them to experience a free traveling of eyes.
I work with daily concepts and commonly known examples (anus, flower, human or animal bodies, and bottles etc.) but before that I always started with something more rudimentary, because examples and commonly known concepts are always limited and easily to be misused to give a reduced generalization of concepts which are much broader. I use daily concepts in my works in a way of wresting them from the aim of serving for the existed orders or functions. By doing this, I wish to create a new environment with different and unknown possibilities.
If there needs to be some kind of investigation in my artistic practice, I would say that, I try to research how the new percepts from us to the world are composed, how we observe the power of these new percepts which are independent from the lived perception and in this process how do we create decisions, determinations and even concepts. For example, the process I have been through during the making of “anal daisy” to try to break the binary way of thinking.
Last but not least, my works are not illusions that I created for any of these notions above. On the contrary, I believe all the tendency of these concepts and functions helps for the preservation of the sensation for my works to stand on their own.











For more information please contact: jinbinchen818@hotmail.com