Theoretical Pain
Q: Could you share the sources of inspiration and the reflections behind your graduation project?
Liang Zongyao: My fascination lies in the intricate interplay of time, the body, and the essence of life. Time flows like a river, while human existence is a tapestry woven with twists and turns. Each individual enters this world, embarking on a journey that spans the spectrum from birth to death, encountering a multitude of people, events, and experiences along the way. These encounters—be they joyous or painful—leave indelible imprints on our being, shaping us in ways both visible and hidden. Though these influences remain elusive, intangible, they possess the power to surge forth at unexpected moments, manifesting in a myriad of forms. It is within this delicate dance of experiences that the essence of our existence is both forged and revealed.
I seek materials that embody the essence of time and existence—oxidizing iron powder, ephemeral water mist, and the cold, fragile, transparent brilliance of glass. Each of these elements draws me in with its unique characteristics.
In this body of work, I approach the glass in a hollow form, infusing it with iron oxide. The iron powder, subjected to the thermal expansion and stretching of the glass, evokes images reminiscent of cellular diffusion. Transient and elusive, the water mist weaves through the transparent interior, leaving behind humid air that reacts with the iron powder. These materials interact over time, gradually revealing irreversible transformations.
The title of this work, "Theoretical Pain," encapsulates two layers of meaning. First, it pertains to the artistic expression of the piece itself. Through mediums such as glass and rust, I aim to provide a tangible representation of pathological conditions. The presentation is not raw and visceral like a laboratory but abstracted through an artistic lens. Secondly, it reflects my personal understanding of time. "Theory" symbolizes life—an irreversible flow that we cannot escape. While we cannot evade these realities, I believe I can express my feelings through art, seeking resonance from the perspective of the broader society.
"Theoretical Pain Serie," Glass, Iron Powder, Mist, Dimensions Variable, 2024
At the same time, glass embodies fragility, mirroring the vulnerability of both the human body and spirit. The imagery presented in this work does not merely replicate suffering; rather, it seeks a breakthrough—a reconciliation with time, life, and death. In the vast river of existence, humans possess an intrinsic dynamism, regardless of the circumstances. The glass in this piece is transparent and resplendent, dazzling under the play of light.
In this work, I employ an infusion system crafted from condensers; I simulate an electrocardiogram using the principles of glow discharge; I depict cellular slices through the techniques of molten glass and glass sculpting; and I utilize printmaking methods to affix iron powder onto glass plates, representing a medical imaging system. The interplay of these diverse media aims to render a visceral representation of a pathological laboratory or surgical setting, inviting the audience into an artistic space where they can gain a nuanced understanding of time and life.
"Theoretical Pain Serie," Glass, Iron Powder, Mist, Dimensions Variable, 2024
Installation site
Q: What challenges did you encounter during the creative process, and how did you overcome them?
Liang Zongyao: The greatest difficulty in my artistic endeavor was the sheer scale of the project I set for myself. Even though the creation took more than a year, from sketching to production and finally installation, each phase demanded a corresponding amount of work and time. The scope and magnitude of this endeavor were unprecedented for me, presenting various challenges along the way. I encountered numerous issues, especially during the initial experiments and the preparations for the final exhibition, resulting in countless moments of failure and compromise that I struggled to remember. Concerns regarding the yield of the glass, the functionality of the installation, and the dimensions of the components were constantly in need of refinement.
Creation process
Translated from Chinese par Yan Le Clézio
