"The Shores Of Our Understanding" (我们理解的海岸)
// BLURB //
-ships and -isms aren’t going to do much for us now. Stewardship. Environmentalism. Leadership. Capitalism. When you’re looking up at a wave from your 12th floor apartment, these words suddenly speak to a lazy and decadent past. They become concretely hollow. Language is fickle like this. Its meaning in relation to our circumstances can roll in suddenly, crashing against the shore of our understanding, washing away our worldview and leaving behind something wholly different, replacing the patio furniture of our modern sensibilities with the discarded tires of a new world order. Complacency in the way we use and understand language is the beginning of the end for any hope of linguistic salvation. The same type of complacency in art, however, is the beginning of the end for any hope of spiritual salvation. Art, in its transcendence of language, allows us to say what cannot be spoken. It allow us to transform screams of horror into something coherent. I think of Picasso’s Guernica and wonder of the meditations on suffering to come. I wonder if we deserve this.
-ships and -isms aren’t going to do much for us now. Stewardship. Environmentalism. Leadership. Capitalism. When you’re looking up at a wave from your 12th floor apartment, these words suddenly speak to a lazy and decadent past. They become concretely hollow. Language is fickle like this. Its meaning in relation to our circumstances can roll in suddenly, crashing against the shore of our understanding, washing away our worldview and leaving behind something wholly different, replacing the patio furniture of our modern sensibilities with the discarded tires of a new world order. Complacency in the way we use and understand language is the beginning of the end for any hope of linguistic salvation. The same type of complacency in art, however, is the beginning of the end for any hope of spiritual salvation. Art, in its transcendence of language, allows us to say what cannot be spoken. It allow us to transform screams of horror into something coherent. I think of Picasso’s Guernica and wonder of the meditations on suffering to come. I wonder if we deserve this.
EDITION, MEDIA, SIZE & WEIGHT
Edition 2/8, Shanghai 2019
Giclée print face-mounted to plexiglass on aluminum Dibond panel, aluminum frame
281.7(W)×71.6(H)×3(D) cm // 6 kg (framed)
CRATE SIZE & WEIGHT
291(W)×81(H)×15(D) cm // 32 kg
EXPOSURE
• “Flashbulb on Memory Lane” at island6 Shanghai
• “Who Needs Men Anyway?” at island6 Shanghai
CREDITS
Nick Hersey (art direction & illustration) • Thomas Charvériat (art direction & photography) • Yeung Sin Ching 杨倩菁 (production supervisor) • Carlin Reinig (blurb)
Edition 2/8, Shanghai 2019
Giclée print face-mounted to plexiglass on aluminum Dibond panel, aluminum frame
281.7(W)×71.6(H)×3(D) cm // 6 kg (framed)
CRATE SIZE & WEIGHT
291(W)×81(H)×15(D) cm // 32 kg
EXPOSURE
• “Flashbulb on Memory Lane” at island6 Shanghai
• “Who Needs Men Anyway?” at island6 Shanghai
CREDITS
Nick Hersey (art direction & illustration) • Thomas Charvériat (art direction & photography) • Yeung Sin Ching 杨倩菁 (production supervisor) • Carlin Reinig (blurb)