Narrow Entrance of Meaning: —on Yao Lu's Photos
Source:Artintern Author:Wu Hong Date: 2006-10-06 Size:
The obvious painting trait presented in his photos. Being satisfied with this easily discovered feature, we would naturally consider this as some evidence to distinguish and research a certain visual style from his works—which, of course, could also be accepted to be a methodology to read his works.

Yao Lu's Photo

It is more than difficult to conclude Yao Lu’s photo into a format, at least to me. This might implicate his education background and working experience. Yao Lu graduated from the Printmaking Department, Central Academy of Fine Arts (CAFA), then taught in the academy for quite a long time. This experience support the two attributes presented in his works.

First, the obvious painting trait presented in his photos. Being satisfied with this easily discovered feature, we would naturally consider this as some evidence to distinguish and research a certain visual style from his works—which, of course, could also be accepted to be a methodology to read his works.

But it is his oppugn to the “authenticity” of historical texts arise my very interest. The relationship between various Medias, as described above, forms a historic forward order between these texts. At the same time, the reflection of the “authenticity” based on media variance also covers the field of video semeiology, which indicates his career character and education background. For example, in his plane composing series, besides the striking composing element, he also confuses of the “authenticity” between the painting-like “white apple & black apple” and the photo “apple”. The “name” of particular referred black and white apples and the “reality” of apple in common sense remind us the famous statement “White Horse is not Horse”.

In his series, the previous game of “White Horse is not Horse” turns to question the concept of “character”, “painting” and “photograph”, as well as “text” and “meaning”. It transits via character, painting to photo, which forms a progression of visual reality. With this accumulating meaning of “visual reality”, a ridiculousness is presented as a result when the visual association of characters becomes “physical” reality.

In the “Longing” and “Dormancy” series, the “Worker, Farmer, and Soldier” denotation he selects is self-evident with its political connotation. These identity-divisions with clear ideology characteristic easily remind us an imagery transmission format which occupied our visual experience in certain historic period –poster. Through the “virtual” format, the poster realizes its intensive emotion-instigating function. But when we question this virtual attribute with “lifelike” photo, it emerges a certain historic and political absurdism.

Thereon we could conclude Yao Lu is in fact expressing a series of art linguistics and semeiology questions, while all these questions are more than far away from the conceptualized and mannerism format popular in current art market. It is a narrow entrance of meaning, whose rationality can only be understood when we associate it with Yao’s academic education background and working circumstances.

 

[Editor] Zhang Shuo

    Artintern