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Meng Du

Ordinary Days: Someone I Knew, 日常:似曾相识的某个人

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Meng Du

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Ordinary Days: Someone I Knew, 日常:似曾相识的某个人 by Meng Du

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Ordinary Days: Someone I Knew, 日常:似曾相识的某个人

by

Meng Du

US$ 1,500

Overview

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2016

Mirror

Unique Work

Dimensions: 25.4cm (H) x 30cm (W) x 2cm (D) / 10" (H) x 11.8" (W) x 0.8" (D)

Note: Actual colours may vary due to photography & computer settings.

Artist Statement

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Meng Du collected vintage frames and incises the images of old furnitures on the mirrors. Rising from the old chairs, suitcases, and dressing tables, the cloud shapes seem to be the souls that inhabit in them. Tsukumogami, in Japanese culture, refers to the belief that objects, which are neglected for more than a hundred years, would absorb the essence of the earth, accumulate their resentment for the neglect or perceive the Buddhist teachings and gain their own souls to transform into ghosts. Yukio Mishima cites the tale of Tsukumogami in his novel The Temple of the Golden Pavilion. He recounts that a pile of objects were abandoned by their owner at the beginning of spring and they turned into ghosts and spirits. Meng Du recollected these discarded objects and photo frames, and depicted the images on the mirrors to redefine these old objects and rediscover their meanings as well as values.

杜蒙从旧物店里收集来的相框和镜子上刻上了老式家具,如云似雾的气息从椅子、箱子和梳妆台上升起,似乎是其中栖居的灵魂。日本文化中有“付丧神(Tsukumogami)”的说法,指器物放置100年不理,吸引天地精华,积聚怨念或感受佛性、灵性而得到灵魂,化为妖怪。三岛由纪夫在《金阁寺》里引用了《付丧神记》,便讲述了立春前夕被主人扫地出门的一堆旧器物,被主人扫地出门后幻化成精的故事。艺术家重新收集了这些被弃之不用的相框,在镜子上刻画出老家具的形态,试图让它们焕发出新的意义,重新被珍视。

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Artist Profile

Born: 1986

Hometown: Beijing

Based in: Beijing and Nanxun, Zhejiang Province

Graduated from the Graphic Design program of Central Academy of Fine Arts, Beijing (B.F.A.) in 2008 and the Digital Art program at the department of Glass Program of Rochester Institute of Technology (M.F.A.) in 2013. Currently, she is living and working in Nanxun, Zhejiang Province and Beijing, and has been teaching as the Adjunct Faculty at the Central Academy of Fine Arts since 2016. Her work has continued to exhibit in China, Europe, and in the United States. Her recent exhibitions include: Meng Du: The Room, Shanghai Museum of Glass, Shanghai (2018); The International Exhibition of Glass Kanazawa at Shiinoki Cultural Complex, Ishikawa Prefecture, Japan (2016); Flow Grow: 2015 Qingdao Contemporary Glass Art Exhibition at Qingdao (2015) and Design Shanghai 2013 City of Craft and Design at Power Station of Art, Shanghai (2013). In June 2016, she had her first solo exhibition in New York: Meng Du: The Climb, The Fall at Fou Gallery, New York (2016). In 2016, she won the The Honorable Mention for The International Exhibition of Glass Kanazawa.

Meng Du is interested in preserving memories and keeping a record of them so they do not fade over time. With a natural instinct to extract meaning from narrative, she also wants to show memories in decay, as a way of memorializing them and showing the process of their slow disappearance from our consciousness. She incorporates the drawings and found objects, which come from her personal life experience into the surface treatment and imaging techniques of glass. To represent the nostalgic feeling and memories of certain times and places that she does not want to let go of.

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