ART: ISSUE #16

Featured Artist

LiQin Tan

 

Refractive Brain Therapy Series

Animation Installation w / Digital Metal Prints Animation and Digital metal printing equipment

 

 

 

"Refractive Dizziness" by LiQin Tan, 176cm x 125cm Digital Metal Print Within a Water Installation

“Refractive Dizziness” by LiQin Tan, 176cm x 125cm Digital Metal Print Within a Water Installation

 

 

"Rusty Saltiness" by LiQin Tan, 220cm x 145cm Digital Metal Print

“Rusty Saltiness” by LiQin Tan, 220cm x 145cm Digital Metal Print

 

"Refractive Numbness 2" by LiQin Tan, 176cm x 125cm Digital Metal Print Within a Water Installation

“Refractive Numbness 2” by LiQin Tan, 176cm x 125cm Digital Metal Print Within a Water Installation

 

"Refractive Drunk" by LiQin Tan, 176cm x 125cm, Digital Metal Print

“Refractive Drunk” by LiQin Tan, 176cm x 125cm, Digital Metal Print

 

 

 

LiQin Tan

 

 

 

LiQin Tan

Artist Statement:

This project consists of a few large digital-brain prints on metal, which are placed into large, water-filled vats. These “brains” are accompanied by 3D animation played on LCD monitors, while the faces bask in the large vats of water. The audience is encouraged to interact with the installations by changing the water level, light, animation, and refractivity.

In this series, I show a decidedly unique understanding of refractivity. The project touches on a natural phenomenon, and more importantly, a social one as well. In Chinese ideology, the phrase “refractivity” holds the dual meaning of:

1) initiating an illusion,

2) leading towards social reality, with applications, treatments, such as water therapy, that can be applied as psychological activity but also brain washing.

Additionally, the installation emphasizes social periods in China referring to ‘Cultural Revolution’ and the ‘Great Leap Forward.’ Physical body and reference is merged with social, political, and cultural meaning.

LiQin Tan

LiQin Tan has portrayed his inventive and autodidactic energy as an artist, educator and researcher for three decades while teaching in China, Canada, Singapore, and the U.S.A. He has pioneered the “Digital-Primitive” and “Digital Nature” concepts, which have won great acclaim and a number of awards from both American and international art scenes. His artwork has been exhibited nationally and internationally in both solo and group shows. Tan is a co-director and a professor of art at Rutgers University-Camden. Tan’s art research since 2000 has focused mainly on the merging of conceptual animation, animation installation, interactive animation, and digital prints on rigid materials.

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