Parallel Soul: The Ultimate Guide to the natural history: Feng Zhixuan

This exhibition is a summary of Feng Zhixuan's exploration of materials in the Anthropocene as a sculptor. He uses the technique of creation as a means to resist the meticulously retouched smooth surfaces and uses the texture of the material to evoke the original sensory stimulation, each of his works is full of traces of "resistance" to the contemporary urban environment and dehumanized production, in the nomadic creation in the course of the exhibition, the autonomous structure of vertical experience is continuously created, and the ecosystem of Anthropocene imagination is cultivated in the process of collecting the remains in the thermal industrial ruins.

 

Pirates always exist in all ocean narratives. They are the wandering souls of the ocean, possessing a certain wildness beyond the ordinary. They can live off the land. Pirates are always so resourceful, strong, and charming. They seem to have some kind of contract with the sea, To some extent, they are different from humans, they are a kind of marine life.

 

Pirates brought back the legendary treasures from the war and created a space that accompanies the pirate narrative-the treasure cave. The existence of pirates is to create treasure.

 

The sculpture gathers the essence of plankton, it is a simulation of nature by seashells, hummingbirds, and all artificial materials. It integrates a variety of biological and material brilliance together. In the process of constant filling, satisfy the reverie about hidden treasures. Other forms of naturally distorted plankton worship it. They enter the mythical world, start a feast for months, filling instead of records, and test the oppressive mode of Monument materials.

 

The Anthropocene magpies, who like plastic decorations, hovered here and refused to leave. They continued to carve and build their nests, and finally built floating plastics into their monuments. The words engraved above are from the civilization of planktonic species.

 

The 14-line poem A Stylistic Interpretation of Ozymandias by the British poet Shelley has been circulating in the Chinese world for nearly a century. Shelley originally used the stories of overseas travelers to peep into the distant empire. He never thought that translators were more interested into emphasize the giant sculpture instead of "style interpretation”. A century later, Ozymandias became a silhouette of a large-scale real estate and a noble symbol at the gates of fancy communities in order to show their taste. From taste to style, the joking reverse interpretation is completed.

 

Plants are endowed with literary life in civilization, and then developed into symbols and aesthetic labels. In "Das kul-turelle Gedächtnis: Schrift, Erinnerung und politische Iden-tität in frühen Hochkulturen" which written by Jan Assmann, he thinks culture is a piece of parchment that can be written repeatedly. Experts closely observe the population of plants through the laboratory, the anxious gaze imagines plants as landscapes and moral symbols related to human beings.

 

Polyurethane rigid foam is widely used in the construction industry. They are everywhere in urbanized buildings, but they are nowhere to be seen. The texture of the city is flat and smooth. The glass wall and the new roads are constantly reflect light. In the speeches and blueprints of the city planners and monument builders, everything is in order, there is no excess, no redundancy.

 

Experts believe that the Anthropocene includes a large number of artificial feeding chicken bones, construction waste, cement, and plastics. On the inside of the geological layer relief, the twisted and bright lines of the geological layer are like graffiti left by Gaia in the geological era.

 

Among the steel, cement, and glass walls, polyurethane foam is the inner part of the building. It is perpendicular to the urban ground. Layers of Anthropocene geological materials are piled up and embedded in the city's civilized system. Feng Zhixuan established a connection between the invisible urban texture and the residual building materials. The completely different "invisibility" between the two was re-inte-grated. When the cheap decorative materials of cities are recombined in the form of geological layers, a cross-section of the Anthropocene is displayed in front of the audience in a large-format relievo to show the diversity of human materials in the Anthropocene. It is one of the possibilities that disturbs

 

There are a large number of plankton in the ocean satellite images taken from space, which are colorful and full of vitality. In most cases, they can be found only when someone who goes to the location of plankton. In fact, they are a huge garbage cluster with aesthetic surplus symbols.

 

Plankton Icon shows a fossil spliced with urban texture materials in the way of combined suspension. As a totem in real estate, the gatekeeper is dissolved in its mold materials and reappears in the system of building materials and hardware chains.

 

These Baroque imaginary works were copied and produced on a large scale in a form of industrialization which give rise to aesthetic surplus, finally falling into the dry garbage can and moving to somewhere that cannot be seen.

 

The colorful composite plastics fulfill the mission of filling and decorating human dwellings. They no longer carry any reveries and are no longer portable. They float in the sea, marine animals are not interested in them. Due to their own physical characteristics, they will eventually gather together on the ocean. Bottles are still bottles, toys are still toys, and the vivid advertisement still can be seen on their bodies. They gathered together strong and huge, gathering the resistance of the ocean currents, looking endless, and never separated.

 

On a quiet day, it is bathed in ocean sunlight, which is painted golden yellow by sunlight. The materials and coatings are superimposed to form a monument, which regularly trembles and emits smoke from the continuous response of the materials, like an unrest giant, trying to summon its material partners to transmit vibrations with the frequency of the times in the geological layer.