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Born 1974 in Shanghai, China
If painting is comprehended as a productive practice, we cannot make much difference between painting, photo or motion graphics. All of them are the same as image producing, and all kinds of image producing are painting; the producer is desire. The image producing is desire’s practice as metonymy and metaphor.
My interpretation of the Buddhist’s idea is all through my recent paintings of “The Ruins’ Mandala”. Mandala first appeared in Tantric Buddhism as a form of sand painting. In the making of Mandala, different colored sand processed in metempsychosis like pictures changing in a kaleidoscope. It embodies the Buddhist concepts of creation, maintenance, destruction and emptiness. Mandala also is a kind of visual presentation of the Holographicism. It reflects the relationship between happenchance and eternal return of the whole universe; not only we can search out the information of universal existence in the detail of chance; we can also find contingence chance in the existence of the whole universe. When we are confronting the stupendous creative and destructive powers of today’s technology, for me, Mandala is the best visual metaphor of our world.
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 Xie Caomin, Mandala no.7, 2009, 244 x 244 cm, oil on canvas |
