"BANG" (哐)
// BLURB //
Where is onomatopoeia most palpable? Where do we feel it the most? And how is it connected to our everyday lives? If Noam Chomsky is correct that the origin of language “lies in the mutation of brain cells”, then perhaps onomatopoeia is built into us at a basic level. There is evidence in the babbling of every 12 month old and in a 2009 Brigham Young University study that found that babies actually understand the attitude of barking dogs. What happens when we are moved beyond words? We revert. We grunt and holler and hoop. But can these nonsensical noises transcend language as well? What happens when language itself fails? Again, we make noise. And we paint. We play music. We write things down and cross them out and scream in pain and in pleasure. Perhaps Roy Lichtenstein had everything right. “Whaam!” and “Drowning Girl” involve comic book panels with characters speaking to us through text bubbles and jabberwocky to describe fiery scenes of war and love. The noises of love and war are oftentimes indescribable and require a so-called transcendence of langua—BANG BOOM POW BANG KERBLOWW SMASH PING HSSS CLUNK
Where is onomatopoeia most palpable? Where do we feel it the most? And how is it connected to our everyday lives? If Noam Chomsky is correct that the origin of language “lies in the mutation of brain cells”, then perhaps onomatopoeia is built into us at a basic level. There is evidence in the babbling of every 12 month old and in a 2009 Brigham Young University study that found that babies actually understand the attitude of barking dogs. What happens when we are moved beyond words? We revert. We grunt and holler and hoop. But can these nonsensical noises transcend language as well? What happens when language itself fails? Again, we make noise. And we paint. We play music. We write things down and cross them out and scream in pain and in pleasure. Perhaps Roy Lichtenstein had everything right. “Whaam!” and “Drowning Girl” involve comic book panels with characters speaking to us through text bubbles and jabberwocky to describe fiery scenes of war and love. The noises of love and war are oftentimes indescribable and require a so-called transcendence of langua—BANG BOOM POW BANG KERBLOWW SMASH PING HSSS CLUNK
EDITION, MEDIA, SIZE & WEIGHT
Unique Edition, Shanghai 2019
Chinese ink and acrylic painting on canvas, black-stained teakwood frame
141(W)×176(H)×6(D) cm // 14 kg (framed)
CRATE SIZE & WEIGHT
152(W)×186(H)×18(D) cm // 24.5 kg
EXPOSURE
• “Perimeters, Edges, and Walls” at island6 Shanghai Main Space
CREDITS
Owen 欧文 (painting) • Thomas Charvériat (art direction) • Yeung Sin Ching 杨倩菁 (production supervisor) • Carlin Reinig (blurb)
Unique Edition, Shanghai 2019
Chinese ink and acrylic painting on canvas, black-stained teakwood frame
141(W)×176(H)×6(D) cm // 14 kg (framed)
CRATE SIZE & WEIGHT
152(W)×186(H)×18(D) cm // 24.5 kg
EXPOSURE
• “Perimeters, Edges, and Walls” at island6 Shanghai Main Space
CREDITS
Owen 欧文 (painting) • Thomas Charvériat (art direction) • Yeung Sin Ching 杨倩菁 (production supervisor) • Carlin Reinig (blurb)
CLOSE-UPS
