Guided Tour (Polke)

1 – Guided Tour (Velázquez), 2016
acrylic, spray paint, marker on canvas
180 x 200 cm

2 – perspective view: “The Grand Illusion“, solo exhibition at White Space, Beijing, 2016

3 – floor plan of the installation at White Space:
red – painting on the wall
green – spectator’s position for perspective view
__________________

This group of paintings consists of seven pieces depicting different iconic works from the history of painting. Painted after imperfect digital images sourced from the internet, the motifs were further transformed and distorted as anamorphoses. Seven positions were marked on the exhibition room’s floor, instructing viewers to stand at specific points to look at each painting from a calculated distance. The guide offers a ‘correct view’ of the image, which you can choose to disregard by wandering away.

By taking the audience through a walk within the exhibition, the installation questions the concept of the ‘right’ way to perceive and interpret a painting. It also challenges our distanced yet familiar relationship with digitally reproduced artworks.

1 – Guided Tour (Cézanne), 2016
acrylic, spray paint, marker, colored pencil, oil pastel on canvas
130 x 180 cm

2 – perspective view: “The Grand Illusion“, solo exhibition at White Space, Beijing, 2016

3 – floor plan of the installation at White Space:
red – painting on the wall
green – spectator’s position for perspective view
__________________

This group of paintings consists of seven pieces depicting different iconic works from the history of painting. Painted after imperfect digital images sourced from the internet, the motifs were further transformed and distorted as anamorphoses. Seven positions were marked on the exhibition room’s floor, instructing viewers to stand at specific points to look at each painting from a calculated distance. The guide offers a ‘correct view’ of the image, which you can choose to disregard by wandering away.

By taking the audience through a walk within the exhibition, the installation questions the concept of the ‘right’ way to perceive and interpret a painting. It also challenges our distanced yet familiar relationship with digitally reproduced artworks.

1 – Guided Tour (Dürer), 2016
acrylic, marker, crayon on canvas
130 x 190 cm

2 – perspective view: “The Grand Illusion“, solo exhibition at White Space, Beijing, 2016

3 – floor plan of the installation at White Space:
red – painting on the wall
green – spectator’s position for perspective view
__________________

This group of paintings consists of seven pieces depicting different iconic works from the history of painting. Painted after imperfect digital images sourced from the internet, the motifs were further transformed and distorted as anamorphoses. Seven positions were marked on the exhibition room’s floor, instructing viewers to stand at specific points to look at each painting from a calculated distance. The guide offers a ‘correct view’ of the image, which you can choose to disregard by wandering away.

By taking the audience through a walk within the exhibition, the installation questions the concept of the ‘right’ way to perceive and interpret a painting. It also challenges our distanced yet familiar relationship with digitally reproduced artworks.

1 – Guided Tour (Stella), 2016
acrylic, spray paint, marker, oil pastel on canvas
300 x 450 cm

2 – perspective view: “The Grand Illusion“, solo exhibition at White Space, Beijing, 2016

3 – floor plan of the installation at White Space:
red – painting on the wall
green – spectator’s position for perspective view
__________________

This group of paintings consists of seven pieces depicting different iconic works from the history of painting. Painted after imperfect digital images sourced from the internet, the motifs were further transformed and distorted as anamorphoses. Seven positions were marked on the exhibition room’s floor, instructing viewers to stand at specific points to look at each painting from a calculated distance. The guide offers a ‘correct view’ of the image, which you can choose to disregard by wandering away.

By taking the audience through a walk within the exhibition, the installation questions the concept of the ‘right’ way to perceive and interpret a painting. It also challenges our distanced yet familiar relationship with digitally reproduced artworks.

1 – Guided Tour (Mondrian), 2016
acrylic, marker, colored pencil, oil pastel on canvas
140 x 140 cm

2 – perspective view: “The Grand Illusion“, solo exhibition at White Space, Beijing, 2016

3 – floor plan of the installation at White Space:
red – painting on the wall
green – spectator’s position for perspective view
__________________

This group of paintings consists of seven pieces depicting different iconic works from the history of painting. Painted after imperfect digital images sourced from the internet, the motifs were further transformed and distorted as anamorphoses. Seven positions were marked on the exhibition room’s floor, instructing viewers to stand at specific points to look at each painting from a calculated distance. The guide offers a ‘correct view’ of the image, which you can choose to disregard by wandering away.

By taking the audience through a walk within the exhibition, the installation questions the concept of the ‘right’ way to perceive and interpret a painting. It also challenges our distanced yet familiar relationship with digitally reproduced artworks.

1 – Guided Tour (Duchamp), 2016
acrylic, spray paint, marker, colored pencil, oil pastel on canvas
120 x 450cm

2 – perspective view: “The Grand Illusion“, solo exhibition at White Space, Beijing, 2016

3 – floor plan of the installation at White Space:
red – painting on the wall
green – spectator’s position for perspective view
__________________

This group of paintings consists of seven pieces depicting different iconic works from the history of painting. Painted after imperfect digital images sourced from the internet, the motifs were further transformed and distorted as anamorphoses. Seven positions were marked on the exhibition room’s floor, instructing viewers to stand at specific points to look at each painting from a calculated distance. The guide offers a ‘correct view’ of the image, which you can choose to disregard by wandering away.

By taking the audience through a walk within the exhibition, the installation questions the concept of the ‘right’ way to perceive and interpret a painting. It also challenges our distanced yet familiar relationship with digitally reproduced artworks.