TWHAWTHIF – The World Hath Aged Whilst Humanity Is Fledgling | Y Manifesto | Exhibition at Art Yourself Atelier

Cans Studio

(Artist Introduction)

CANS Studio, founded by Yu Zhang and Lan Lin reimagines spatial design by integrating emerging media and technology. With roots in architecture, the studio critically examines how these new technologies reshape our perceptions of self, space and society. "London Odyssey" emerges as a compelling artistic inquiry into the nuanced realm of digital freedom and constraint, drawing upon Johan Huizinga's concept of play as outlined in 'Homo Ludens.' This work explores the intricate dance between autonomy and the invisible boundaries set by digital environments.

(Artwork Statement)

The artists present a moving image installation where an anonymous individual is seen running on a treadmill against a backdrop that suggests a vast, open landscape. This visual metaphor powerfully encapsulates the essence of their exploration: the juxtaposition of physical exertion against the illusory expanse of digital realms. The figure's relentless motion on the treadmill, set within an ostensibly limitless terrain, serves as a poignant allegory for the human experience within digital games—a journey marked by apparent freedom, yet governed by the rigid parameters of pre-programmed rules and systems.

At the heart of "London Odyssey" lies the theme of human-machine interaction. The ambient sound of the treadmill in the installation underscores this dynamic, highlighting the tangible aspects of engagement with digital interfaces. This choice of audiovisual elements not only enhances the sensory experience of the viewer but also reinforces the core concept of the artwork: the interplay between the physical and the virtual, the human and the algorithmic.

Through "London Odyssey," the artists invite viewers to reflect on the paradoxical nature of digital spaces. They challenge common perceptions of digital environments as mere simulations, positing them instead as complex arenas where human actions are both enabled and restricted by computational frameworks. This work seeks to provoke thought about the evolving relationship between humans and computer.

Xuanbo Cao

(Artist Introduction)

I'm Xuanbo Cao and based in London. I learned painting more over twenty years, my bachelor's degree majored in Environmental Art Design and Master's degree majored in Illustration. I'm now finding my own language of painting —— my inspirations are from life, emotion, nature and interesting ideas. Soft pastel and color pencils are familiar materials to me, I love their fuzzy, delicate texture and I used them to create those dreamy color's atmosphere. Furthermore, I'd like the contrast between the painting and the content——behind the beautiful things are endless loneliness and fleeting moments.

(Artwork Statement)

"People always feel sorry for the marine life caught in the aquarium. The square glass tank is like a cage to imprison them, but the ocean is just an irregularly shaped cage.

Apart from oceans, plains, mountains, and deserts are all cages, and the earth is a huge cage composed of these cages. In this cage, oxygen, sunlight, rain, clouds, breeze, heavy snow, plants, animals, and tiny bacteria, seem to be carefully designed and arranged on the surface of the earth. Outside the earth, there is a silent universe - all sounds on the earth are separated by clouds, and joy, anger, wailing, and sadness only happen in the cage, just like human beings cannot hear the voices of sea creatures inside the glass."

Zijing Chen

(Artist Introduction)

Zijing Chen (Chinese, b.1997) is a London-based visual artist. She graduated from Sichuan Fine Arts Institute in 2020 and completed her MA in Illustration at Camberwell College of Arts in 2022.

Zijing's artistic practice encompasses a diverse range of mediums, including painting, digital painting, graphic novels and animation. She finds great fascination in creating highly symbolic imagery and seeking an aesthetic with absurd quality. Inspired by existentialist philosophy and magical realism literature, Zijing develops her own narrative language under the motif of paradox. Taking myths, symbols, personal memories and dreams as her materials, she delves into the dilemmas of human existence and depicts the landscape of consciousness.

(Artwork Statement)

This is a surreal journey that leads the viewer back to the deepest recesses of memory, awakening from the storm in a cyclical dream. The drowning scene implied in the film isn't based on a real experience, but a symbolic representation of powerlessness. The soundtrack was composed prior to the visuals, based on abstract emotions and atmospheres, shaping the visual aspects.

The title "Storm in the seed" hints at the story's structure. The storm sprouts with the rapid growth of a flower, brings the first raindrop, and ultimately ends in the heart of the flower, surrounded by a serene ocean. Full content: YouTube

Shuting Cui

(Artist Introduction)

Juice is a relentless innovator in the realm of avant-garde artistry, a performance virtuoso hailing from an enclave of isolation. Her creative oeuvre traverses the dimensions of artistic expression, commencing with two-dimensional classical paintings and illustrations, then advancing boldly into the realm of three-dimensional contemporary short films and sculptures, and ultimately ascending into the fourth dimension, characterized by spatial sound design and digital media manipulation.

Youyi Dai

(Artist Introduction)

Youyi Dai（Drew Dai）, born in 2004 in Chengdu, is currently studying in the Digital Media at Beijing Institute of Graphic Communication. Dedicated to researching digital generative art, installation art, interactive experiences, and more. I excel at drawing inspiration from his own life for creative endeavors. Passionate about trendy art culture, I have participated in the Chengdu Edge Evolution Art Festival as a visual designer. Additionally, I am focusing on the study of contemporary art and currently works at the UCCA Ullens Center for Contemporary Art, gaining in-depth insights into the integration of contemporary art and commerce. I am looking forward to exchanging ideas and collaborating with more artists to pioneer in the field of contemporary art!

Wenwen Deng

(Artist Introduction)

Wenwen Deng (Rachel) is a multi-media artist based in London. She is currently on her fine arts undergraduate study in Central Saint Martins. Her works include performance, photography, paintings, sculptures, 3D modelling and animation. With a strong interest in natural landscapes and oriental traditional cultures, she explored the relationship between nature, cultural heritage, and contemporary society. The artist aimed to evoke audiences the awareness of preserving the manmade and non-manmade heritage by showing the strength of beauty on the earth which has been accumulated though hundred decades.

(Artwork Statement)

Just like the "Relics Revival" in the past two years, we seem to have a rotating collision with history. Today's trends will be outmoded, and things from long ago may become fashionable again. The solidified texture is like the veins of countless selves. Although the colours that were once laid have been washed many times, their traces are still retained.

A Yosegi puzzle box that required sequential adjustments to open the box. Along with the gradual disappearance of Mogao cave painting on landscapes in a manmade diastrophism, an evolution of civilisation and humanism has been "cracked" in steps.

Yuechen Jiang

(Artist Introduction)

Jiang Yuechen, Graduated from Goldsmiths University of London MA in Filmmaking-Cinematography, a BA in Media Communications, London College of Communication, University of the Arts London. She is interested in visual art forms due to her media communications and filmmaking backgrounds. Her debut black-and-white picture, Blood Bun (2014), was based on Chinese writer Xun Lu's novel. Jiang studied filmmaking after receiving a bachelor's degree in Media Communications and appeared in several productions. In 2018, her graduation film, ‘Sapper Smith （2018）’, won the Best Student Short Film at the Edinburgh Independent Film Awards 2018.

Jiang returned to China in 2019 and works as a freelance filmmaker, photographer, and artist in Shanghai. She continues to experiment on visual art forms.

(Artwork Statement)

Language is usually considered a key factor in film art. It could give meanings to performances, to endorse or to destroy. When this factor is taken out of its context, can the audiences then focus on the performance itself? This video piece, utilises only body language, tells a story of two lovers from falling in love to leaving each other. Has acting and performing become more straight forward when the language factor is taken out?

Jozie Lin

(Artist Introduction)

Born and raised in Taipei, Jozie Lin received her M.A. degree in Advertising at Syracuse University and worked in New York City for 5 years after finishing her graduate studies. She is also a jewelry designer who launched her jewelry brand Mutiara NYC in Shanghai. Jozie loves creating art through experimenting different and unique materials; as an astrologist, she often finds her art being inspired by her passion for horoscope and psychology.

(Artwork Statement)

These two paintings come in a pair, representing two different statuses of women. The colors in the bloom are warm and soft while those in the cactus are calm and collected. The artist Jozie Lin applies “a rope” as a symbol of men, while it has been sewed to the canvas. The action of sewing is feminine, and therefore the combination of the two really signifies “androgyny.” The concept behind the artworks was to embrace both the yin and yang qualities in a woman. Women can choose to be soft or be strong. They never need to maintain a certain image if they could accept themselves completely.

Yimu Yang

(Artist Introduction)

A contemporary Chinese photographer, and visual artist who born in China, artist based in UK, Shanghai and Beijing, lives and works in UK and China. His engaged in documentary photography and art photography.

(Artwork Statement)

I came to France for the first time in 2019, and returned here again in 2023 to participate in an art exhibition. It has been more than ten days since I finished my visit. I'd like to mark the end of this voyage by sharing some of the photos I took with my cell phone during the trip.

During the four days of my trip, I recorded the places that were familiar to me when I first went to Paris in 2019, but are now unfamiliar to me: Charles de Gaulle Airport, the metro stations, the art districts, the Pompidou Museum, the banks of the Seine River, and the Eiffel Tower... Unlike my previous trip where I simply recorded the scenery, in this set of photos I decided to express the Paris I knew based on my own inner memories of the emotional changes I was experiencing. The relationship between different people and objects under the sunlight is suddenly close to each other and suddenly distant from each other...

With the accumulation of memories and the reflection of reality, I have recorded the real information of my subconscious about Paris in a fragmented mode, which also reflects the emotional fragments of my deep impression of Paris. Before the riots and disturbances that occurred after I left Paris, I explored the city from an intimate and nuanced point of view, which will always represent the Paris of my heart, and hopefully the peace will return.

Di Yao

(Artist Introduction)

Di Yao (b. 1998), a native of Huzhou, Zhejiang, now is a postgraduate majoring in Textilesa t Royal College of Art. Her works always focus on the trivialities of life and herdelicateemotions.As a woman, she is extremely adept at exploring hidden emotional corners and finding breakthroughs under establishedrules. Her works always present a "romanticism" tone, and time is a major part that runs through her works.Her worksare diverse i nform, mainly including fiber art, photography, and installation art.

(Artwork Statement)

Objects are like alter e g o sother than our bodies. Everything around us exists objectively. How do we regard them, a n dhow do w ereturn them to us? I try to find a sense of conflict in my installations and photography works.Maybe it's a clash between the sharpnessof nails and knives and forks and the softness and exquisiteness of fabrics, or maybe it is the conflict between the rotten applecoreand a sense of ceremony. Probably becauseoft h e questionabout the purpose of articles, the trash can canalso becomea kind o fromance to reconcile contradictions. Iwould liketo delve intothe value of women in the family within established norms, as well as explore what is enduringyet fleeting, what is gentleyet empowering, a n dwhat is eternalamidst the vast journey of life.

Linan Zhang

(Artist Introduction)

Li Nan Zhang is a digital fashion designer with a first class MA from Nottingham Trent University. I am committed to researching the relationship between gender and clothing to give people a new perspective on gender equality.

(Artwork Statement)

My project 'Identity Transfer' is to fundamentally change preconceived notions and ideas about gender, embodying the idea that women can also do what men in society do, subverting the idea of male domination over women. The patterns use traditional frog prints from the matriarchal period to express gender equality and are expressed using embroidery and materials that have been considered female crafts since ancient times such as knit and lace, with leather denim and other hard, thick fabrics to convey the theme.

Hengtian Zhou

(Artist Introduction)

Christa Hengtian Zhou is an artist known for her virtual art and experimental video. Using theater and experimental images, she expresses and critiques the relationship between women, social class and nature in an abstract and sustainable way. Her work has been shown in several international exhibitions and catalogue designs covering Los Angeles, London, Shanghai, Hangzhou and Nanjing. The artist currently lives and works in London, UK.

(Artwork Statement)

This is a high-concept, experimental, pioneering film that uses critical thinking to explore the fusion of the mediums of theatre, musical performance, and motion graphics. The choice of subject matter also places it within a broader social, political and economic context, exploring global diversity and solutions to climate change, demographic and social issues, and St. Martin's ongoing emphasis on "sustainability"." The film received the Best Original Script Award from the South China Film Festival and Best Humanities film at the Jinhuilan Film Festival.

Shiyun Li

(Artist Introduction)

Shiyun Li is a Chinese artist based in London. She specialises in finding the overlap between private and public emotions and memories. Her work uses traditional media and is inspired by her personal reflection on life. The common theme that runs through all of her works is a desire to connect and communicate at an emotional level with the reader.

(Artwork Statement)

"Museum of The Memory" is an animated video work that brings together many sketches. In this work, the artist uses daily descriptions and extraction of private emotional memories to create works that are mixed with the contents of human collective unconsciousness. These sketches present her repeated exploration of similarities in time, space, and emotions. Those works also express her Taoist aesthetic insistence on "the unity of nature and man."

Xin Guan

(Artist Introduction)

Guan Xin, a graphic designer, focuses on the construction of innovative visual language of materials, environment and psychology, and guides people to explore and experience the unknown cultural psychology from a more intimate perspective through art installations, book binding design, video installations and virtual experiences.

(Artwork Statement)

As we know，Wuhan is a city of a thousand lakes, and we tried to present the visual effect of the bell in a water-surrounded environment . Ringing the bell is the starting point of the music culture in Wuhan, but it is geographically surrounded or blocked by water. Therefore, how culture is transmitted through the medium of water has triggered our exploration from geographical context to visual material language. In the research, I found the lake and the representative ancient music culture; The cultural core similarity of the chimes of Zeng Houyi's music, and based on this, the key vision was created. In the end, the project is presented with a chime pendent of Lake Vision and a particle effect of TouchDesigner, which will trigger the resonance of sound and the change of image after knocking the chime made of glass, allowing the people to experience the relationship between music culture and the environment they was born in a new way.

Song Bai

(Artist Introduction)

Born in Shenyang, Liaoning Province, China in August 1992. Master's degree from Central Academy of Fine Arts.

Obtained a Bachelor's degree in Design from the Central Academy of Fine Arts, followed by a Master's degree in Mural Painting from the same institution. The understanding of process and shape is notably profound. In 2017, the graduation project was chosen to represent the school in the "I Want to Go to Milan" traveling exhibition. In 2023, participated in the student creation exchange exhibition between CAFA and the Royal Academy of Fine Arts in Antwerp, titled "Bridge of Art: From Antwerp to Beijing and Back Again." Also in 2023, selected for The 13th "Open" competition (no theme restriction) at The Light Space&Time Gallery in the United States and for "The Why Do You Do It" exhibition at The Boomer Gallery in the UK.

(Artwork Statement)

The progress of science and technology has brought about great changes in human beings, impacting people's lifestyle and way of looking at problems. People who are overwhelmed learn to adapt and use technology. How we should use the progress of science and technology to affect people's lives is a question worth thinking about. The picture uses bright colors to highlight the sense of technology, and the person on the left looks out the window as if thinking about something.

Ruijie Zhao

(Artwork Statement)

"The collective soul has the upper hand, not really demanding freedom, but the desire to be flunkies. Whoever claims to be the master, they instinctively show obedience... The group inhibits individual rational reflection." —Gustav Le Bon, "The Crowd: A Study of the Popular Mind"

Triggered by a video of "outfit change dribbling," thousands of "cyber-flunkies" worship in the comment section, but this is nothing new. In this era when science and technology rise in the form of myths, hidden "flunkies" blur their own identity information and gather together as new individuals. When an "old flunky" is just one among millions of "old flunkies," they complete the collective fantasies and submersion.

Through animation, I re-present these four macro processes of human nature being exploited and informationally dominated, and restore the network interaction of likes. I hope to convey to my audience: the group is showing a kind of madness and primitive impulsive fantasy, quietly killing individual existence in the revelry. The individual is gradually submerged, and individual independent thinking and consciousness are eliminated, as if reproducing the situation of class oppression. "Cyber-flunkies" have appeared, and the era of collective self-abandonment and enslavement has also begun...

Yoyo Hu

(Artist Introduction)

I am Yoyo Hu, a sculptor and installation artist from Chongqing, China. With a diverse background encompassing drawing, painting, sculpture, ceramics, jewelry-making, 3D Modeling, and 3D printing, I have honed my skills in both 2D and 3D creative processes. Through my exploration as a wandering artist, my artistic journey is driven by a profound search for cultural belonging. Drawing inspiration from Chinese historical art and stories, I create immersive environments using ceramic bricks as my medium. In this endeavor, I embrace my culture and infuse it with new dimensions and layers, constructing a world that exudes security, warmth, and a sense of familiarity.

(Artwork Statement)

"The Trace of Time: Breathing" is an immersive ceramic light installation that seamlessly merges the essence of Chinese culture, the ethereal presence of figurative art, the concept of time's passage, and the transformative nature of light. This captivating artwork invites viewers to embark on a journey where ceramic sculptures and dynamic lighting mimic the rhythmic ebb and flow of breath, capturing the essence of existence and the transience of life.

Within this enchanting installation, ceramic figures emerge as guardians of Chinese cultural heritage, embodying the wisdom, traditions, and narratives that have withstood the test of time. Like vessels of history, these figures carry the imprints of centuries, gracefully aged by the relentless march of time. As the installation breathes with light, the figures come to life, unveiling new dimensions and narratives with each subtle change in illumination.

The interplay of light, akin to the gentle inhalation and exhalation of breath, infuses the space with captivating energy. Soft and vibrant hues dance across the ceramic surfaces, casting enchanting shadows that shape the perception of the figures and the surrounding environment. This dynamic interplay symbolizes the ephemeral nature of life, reminding viewers of the constant flux inherent in our existence and the importance of embracing the present moment.

"The Trace of Time: Breathing" is an invitation to contemplate the complex interplay between culture, time, and the human experience. It encourages introspection on the fleeting nature of existence and the profound impact of Chinese culture throughout history. As viewers engage with the installation, they are encouraged to reflect on their place in the time continuum, connecting with the stories and experiences of those who came before. Through the marriage of ceramic sculptures, ever-changing light, and the concept of breath, ‘The Trace of Time: Breathing’ presents a profound meditation on the essence of life, cultural heritage, and the perpetual evolution of human narratives. It serves as a timeless reminder to embrace the present, honor the past, and embrace the interconnectedness that binds us all in the grand tapestry of existence.

Qinying Cai

(Artwork Statement)

The main topic of my art is the inner world, representing my personal experiences at different stages of my life as well as showing how my generation thinks and feels. Life experiences involving relationships with other people, expectations, hopes and wishes. When you look at my art you see representations of a certain age and way of thinking. If I notice that another person feels the same as me, this connection inspires me to share it in my art. I try to give hope to people in difficult situations or show understanding of how they feel. No matter our differences, we all go through the same feelings, emotions, fears, expectations, regrets or celebrations.

I am inspired by the events I have experienced and the surrounding environment I feel in my life, and the emotional fluctuations that arise from them are my source of inspiration. This painting (self portrait) uses anthropomorphic techniques to express different emotions. Gender doesn't constrain my expression. In my art works, both male and female can be the subject of the painting. In my self-portrait, the image in the background expresses my belief of life, which also runs through all my creations: life is a circle, our life process has ups and downs, I record our life process by painting. Along the way, we are sometimes shrouded in darkness. But don't forget that there is brightness, and never stop seeking it. This is the message I want to pass on all the time.

Xinrui Qiu

(Artwork Statement)

It is human instinct to be close to nature, but at the same time, it seems that we are constantly trying to conquer and control nature. In Lutos Pond, I used images to represent the relationship between human being and nature.

Junpeng Zhang

(Artist Introduction)

Junpeng Zhang is a professional graphic designer with a natural creative flair.

He is exceptional at designing posters, book layouts and graphic illustrations in visual language. He has a Proven ability to edit videos and create storyline animations. And Skills in collecting data in digital design. He can contribute to the connection and trade of the company’s logistics and transportation.

As a bachelor's and master’s student majoring in graphic design, he participated in a series of professional work internships, produced promotional videos for French wine companies, and designed a series of posters for English clothing stores. Now, he works as a Web Designer in China.

(Artwork Statement)

Focusing on the concept of "Eternal return" mentioned in the theme of this exhibition, the plants in this work will not disappear with the change of location and they seem to "Live Forever" in different environments in the same place. This photographic work is inspired by observing the subtleties in life. The four photographs of plants were all taken at the base of high-rise buildings in the city. Without fertile soil, they still rely on their tenacious vitality to grow quietly in the bustling city. Shockingly, this place was once a plain with lush vegetation decades ago. Today, plants can still regenerate even though it has been developed into a "Concrete Forest".

Crystal Wu

(Artist Introduction)

Shanghai University of International Business and Economics, Graduated in 1997 with a Bachelor degree of Laws.

PROFESSIONAL EXPERIENCES
● More than 25 years in fashion industry as a design and product development manager.

ART EDUCATION
● 2022 – current, New Star Art School, Melbourne,Australia.
● 2022 – current, NOW Art Studios, Shanghai, China.

EXHIBITION PARTICIPATIONS
● 2023, Melbourne,Australia – China EXPO.
● 2023, Los Angeles, Gong Gallery.

Shijia Luo

(Artwork Statement)

You, Though Me is a design fiction that speculates on sensory and relational experiences in the year of 2060. If identity is made as we respond to our environment, to what extent can we have a self-made identity, when so many of our experiences are mediated by the human-made machines that have built in assumptions about our identity?

The genesis of this narrative arose during my period of quarantine in Shanghai in December 2021. Constrained to my quarters, I embarked on crafting a story that envisioned a future world where remote services became an integral facet of everyday existence. The story was built on half of personal inspiration and half of the speculation to discuss topics including the human-made, the visual experience and essentially what makes a human human. This narrative unfolds in the year 2060, where the concept of an exhibition viewing experience is facilitated by a curatorial host. While this role necessitates the lucid articulation of ideas, it becomes apparent that the essence of human existence remains unrestrained by the constraints of technology and its regulations. The process of world-building commenced by constructing a storyline within a futuristic backdrop, accentuating a single element of this world: the coexistence of advanced technology within the human psyche, while humans continue to serve as vessels for their own thoughts, perceptions, and emotions. The narrative is realized through the Unity platform, offering audiences the opportunity to inhabit the perspectives of the characters and participate in the unfolding of the story. You, through me, as conveyed through my narrative lens, not only shares the visual journey of the two characters but also signifies the audience’s engagement with the story from my vantage point. The story’s evolution was significantly enriched by the rapid advancements in artificial intelligence during its creation, contributing to a multifaceted final output.

Manifesto
Through selection and creation, the human-made is everything generated by human beings. The relationship between human beings and the human-made is a variable and a complication. The project is to explore the relationship between humans and the human-made in a landscape that is set in the future that is four-decade away. By studying and speculating from the visual experience of an individual’s mudane activity, it is to exmaine how exactly the human-made is penetrated and engaged with the human being’s everyday life and how it ultimately reaches our identity as human beings.

Xiaosu Jing

(Artwork Statement)

This creation is derived from the case reports of patients with depression and their daily depictions, reflecting the pathological living spaces in the post-pandemic era. Titled "COVID 19 CT images”, the artwork represents a social brain CT image, intricately capturing the balance between the physical and psychological realms of human existence following the pandemic. Made by water colour and Cyanotype, (some portions of the piece also employ lightboxes as a medium. ) The artwork presents two compelling aspects: the front of the paper, with colours intentionally erased, and the more complete representation on the reverse side. In moments devoid of illumination, viewers are confronted with the stark absence of colour on the front, a poignant reminder of the often-silent struggles. However, when exposed to light, the artwork unveils its complete form. As colours emerge from the back, it reveals a deeper narrative, reminiscent of suppressed emotions and memories that continuously surface. Conceived amidst the grip of the pandemic, its inspiration is deeply rooted in the collective subconscious affected by global unrest, particularly the facets that are missing. The challenges of these times underscore the vulnerabilities and intricacies of the human spirit, anchoring the ideas of desolation and lack solidly within our contemporary narrative. Viewed through the lens of this era, the piece seeks to portray the intricate journey of an individual navigating depression, casting light on the emotional and cerebral complexities heightened by this era. As we navigate the aftermath of these unprecedented times, this piece stands as a resonant reflection of our altered states. It not only showcases the tangible afflictions we grapple with but also the psychological echoes that reverberate within our minds.

Ziyue Wang & Xingyuan Jiang

(Artwork Statement)

Atlas Alienation is an immersive audiovisual performance that demonstrates how people live in a world full of surveillance and algorithmic system from an enactivism position. In the project, the author tries to talk about the status of the hyperimage and its relationship with all the data fever spectacles of our society. The performance is based on non-linear vision and the images it produces. Rather than simply questioning the public's addiction to virtual images, the author wants to delve deeper into the interactive screens and poetically reflect on our flesh as spectacle and the spiritual appeals of iconography.

Yijuan Wang

(Artwork Statement)

The series is inspired by the Old Testament story of Noah's Ark, and depicts how mankind is so small and powerless in the face of nature. In light of current day climate change and ecological threats, this ancient story reminds us of mankind’s relationship with nature, and our shared responsibilty to respect the environment.

Inspired by the story of Noah’s Ark, mankind and the animal kingdom are devastated by a great flood. Noah looks out over the flood and prepares to save his family and the animals. The drowning people see the Ark with its door open, and find hope for safety.

Qiyuan Zhu

(Artwork Statement)

This is a series of experimental photography where the artist, based on the portrayal of the ancient Greek god of war, Mars, in a gypsum statue, modified the forms and employed semiotic still-life metaphors to capture the entire process of life departing. The work explores the diversity of contemporary artistic photography, aiming to evoke contemplation on the meaning of life, reflections on death, and a proper understanding thereof. Simultaneously, it expresses the artist's admiration for the greatness of the human spirit and reverence for extraordinary individuals.