The concept of "Alter-ego" originates from Carl Gustav Jung's view of mind. If "Ego" refers to the conscious level of the mind, then "Shadow" refers to the negative subconscious mind. It is also the content of our underdeveloped functions or suppressed personal subconscious. Everyone's basic self-identity has actually been formed in the collective unconscious at a very early stage. It first occurred in the relationship with mother and family, and then it was continuously extended and incorporated into the broad cultural and social environment. During this process, some activities and ideological tendencies of individuals will be accepted by the family/society, but some will be questioned and rejected. Therefore, in this long-standing collective discipline, self-identity is shaped by the influence of others and the outside society, but those questioned impulses and tendencies will not disappear, but will merge together to become "Alter-ego" image exists in the shallow level of everyone's subconscious. "Alter-ego" is also what Jung called "Shadow", just like people can't jump over their own shadow, and we have no way to escape from the repressed spiritual world.
Two young artists, Lin Zheng and Pan Zejia, will present 9 easel paintings and installation works in the 35th Workshop Project exhibition of OCT Boxes Art Museum. The works of the two artists this time have very clear
imagery of "object", such as Lin Zheng's works with magic as the main clue: magic wands, mirrors, lace, silicone, eyelashes, silver needles, etc. The still lifes in Pan Zejia's works, such as revolving bicycle, rice dish, iron railing, plant, etc., all have their complete logical clues. But in the final analysis, artists are trying to perceive and dissect the subconscious self, perhaps in which they can spy on them or our own shadow.
Fantasy and Dangerous Myths
For rational people, repressed experiences and irrational contents will always appear through subconscious dreams or instant inspirations. This is also a balance between consciousness and subconsciousness, which is what Jung said the principle of compensation of dream in order to balance attitudes at the level of self-consciousness. Lin Zheng came up with the idea of creating works on the theme of magic and girl in the early years. To a large extent, it originated from the series of animations rooted in memory since childhood. Today, the fantasy of magic and superpower is still hidden in consciousness, and the fantasies and myths in it may be the compensation for reality and the completion of self-integration. Symbols such as magic wands, mirrors, lace, and eyelashes point to the appearance of youthful and energetic girl, but under the lace is silicone and wax that have the texture of human skin, and the silver needles pierced into them imply a sense of unease, dangerous and ambiguous atmosphere.The process of soft wax melting from solid state and then solidifying during creation also leads to the artist's tendency to imprison, close, and suppress ideas from time to time. Although only a very small number of people can reach the state of self-integration and perfection, reconciliation and balance with the "second self" is also one of the paths.
Every time you ask, will there be an echo?
Pan Zejia uses still lifes in daily to metaphorize doubts and attitudes under the landscape. The "object" in the works are all dispelled from the practical scene and even the dimension of time. Between the object and the ambiguous space is the artist's inquiry to "presence". Where do the restricted pathways and directions in the works "Pathway" and "Revolving Bicycle" lead to when time elapses, in an infinite loop, and what situation and choice do individuals find themselves in? Or maybe both forward and backward are not really strides. "Iron Bowl" is a dish that exists in surreal time and space. When the iron dish becomes paper, it loses its function as a container and tool. The "empty food" here is built on books and hidden in. It seems that "green plants" have always been decorations with artificial tendencies, but after withering or even when the secondary processing spray paint is sealed into a "sample" appearance, can it still retain its original function? But sometimes, the decorations are also disguised as cold and sharp blades, giving off an alternative tension. The shadows of these "things" appear in reality, hidden in the subconscious like weapons, constantly overthrowing and reshaping the "self".
Deng Zhiting
