When I walk into Hang Tian’s solo exhibition, it can be discovered that “photography” undergoes a series of experiments in an artificial way. The plane image has disappeared, and the entire exhibition hall resembles an immense installation art.

These different ways of displaying and viewing are based on the discussion of photography by Hang Tian. When people obtain the content and meaning of a photo, they often establish a corresponding relationship between the viewing subject and the object to form objective cognition or emotional projection. Hang Tian deliberately weakened the relationship between the subject and the object, and between the two, embedded the viewer’s physical perception to link the entire viewing process.

Six series of works are exhibited in this solo exhibition. The work uses the spatiality of the photos as the basis and characteristics of the images, and pays attention to their spatial reproduction.

“Spatial Focus” shows the depth and multidimensionality of images through materials, simulating the sequence of human gaze; “Lake Surface, Staring from Bottom to Top” and other works explore the depth of viewing, using the strange shape of the object to break our usual belief The photography must be the expectation of a flat rectangle; works such as “Ben Nevis, 10:53-13:10” combine the continuous landscape into a layered whole of images, restoring the complexity of time and viewing form.

Spatial Focus                        Lake Surface, Starting from Bottom to Top

Ben Nevis, 10:53-13:10

If the viewing of the works described above is a gaze in the sense of a traditional art gallery, the other three groups of works require the audience to turn their eyes to the entire body, from a fixed position to a movement, and form a richer spatial perception in the roaming of the exhibition hall. The works “100 Meters” and “On the Train” respectively simulate the viewing experience of people walking and sitting on the train, re-stitching the stream of multiple shuttered photos to trace the body state during the movement; the source of “Hell Valley” Based on the experience of viewing the crater, I restore the spatial relationship between the body and the object through image sculpture.

On the Train                                                                                         100 Meters

At present, people pay too much attention to the content of the image itself. Hang Tian’s works are intended to discuss the neglected visual fringe, and to think more conceptually about the photographic medium. People are accustomed to recording their viewing experience with images, while Hang Tian invites viewers to re-experience the new “viewing style” and “self-awareness” based on familiar life experiences through image decomposition, arrangement, and construction.

Hang Tian Solo Exhibition —— Ways of Seeing / Derek Cai / Art Practice 4 (2020-2021)[YR] by blogadmin is licensed under a Creative Commons Attribution CC BY 3.0