МЯО СЯОЧУНЬ
缪晓春
مياو شياو تشون

Metamorphosis-Doubt

source: ionawhittaker

More space is devoted to Miao Xiaochun, and deservedly so. The artist engages with the potential of ‘deformation software’ as an artistic language. The headline work Metamorphosis-Doubt (2011) is a short sequence depicting Man – modeled as a hollow web of white lattice strips – as a philosophical figure resting on a skull.
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source: artwakr

마주보는 곳에 설치된 3점의 시리즈는 제목에서 의미하듯 끊임없이 형성되고 소멸되기를 반복하면서 변화하는 형태에 집중하는 작품이다. 에는 여전히 명화의 요소가 엿보이며 에는 춤추는 두 남녀의 형상을 통해 나타나는 미적 효과가 집중적으로 나타난다. 그 사이에 위치한 는 ‘변형’의 본질에 대한 질문을 내포한 작품이다. 형태를 구성하는 작은 막대가 계속해서 위치를 바꾸며 변형되고, 이는 다시 그의 회화시리즈에서 나타난다. 이렇듯 미아오 샤오춘은 3D 영상을 통해 일상에서 경험하지 못하는 다시점의 지각과 새로운 관찰 방식을 절제된 정공법으로 전달하고자 한다.
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source: saatchigallery
Miao Xiaochun is renowned for his photographs of contemporary China, vast cityscapes which record technological development, painting an alien view of his homeland and envisioning a new dynastic era.
In his latest body of work, The Last Judgement in Cyberspace, Miao Xiaochun appropriates Michelangelo’s Sistine Chapel fresco as territory for similar provocation. Developed on computer, Miao has built a virtual model of the Apocalypse, architecturally structuring the tiers of Christian afterlife. Replacing each of the 400 figures in Michelangelo’s iconic work with his own image and placing them in corresponding pose and position to the original painting, Miao ‘photographs’ the scene from various vantages, ‘documenting’ the Second Coming from viewpoints both within and outside of the scene.
Printed in black and white. Miao’s photos conceive the celestial as a silvery futuristic tableau that’s enchantingly serene and threateningly industrial. In combining the sublime awe of religious painting with malevolent science fiction theme, Miao uses photography to engage the viewer in an ultra-modern way. In using digital process to create his subject ‘from scratch’, Miao’s photographs authenticate a virtual world rather than document reality. Similar to video game graphics and ‘screen shots’, Miao’s images involve the viewer by casting them as ‘avatars’ within the action. Presenting his scenes at obscure angles, Miao positions the viewer as seraphs, saints, or in the case of The Below View, the damned.
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source: encafa

Miao Xiaochun, born in 1964, now lives in Beijing, and currently works in the photography and digital media studio of Central Academy of Fine Arts as a lecturer. He specializes in the use of digital media and photography creation. His works is combined with three-dimensional computer animation screen shots to show more polybasic visual effects. Miao Xiaochun is considered to be one of the most representative artists in China’s new media art. His recent exhibitions include Record of spirit leaves 2011, Beijing 798 White Box Museum of Art, Miao Xiaochun, 2011, Poland Bialystok Arsenal Museum, Miao Xiaochun – Beijing Hand Scroll and Photography, 2011, Germany Berlin Guardini Foundation Gallery, Macro-Mad, 2010, Germany Koblenz Ludwig Museum, Miao Xiaochun – two great videos, 2010, Beijing Today Art Museum.