Zhang Yibei, born in Daqing in 1992, currently lives and works in Beijing.
The hometown of artist Zhang Yibei, Daqing in Heilongjiang Province, is a place in China that is rich in oil.
Therefore, most of Zhang Yibei’s works are “heavy industry” and “mechanical” in language, and in her exhibitions.
Most of the large metal materials are transported to Beijing after being completed in Daqing.
However, Zhang Yibei, who grew up in the hometown of Heavy Industry, is introverted, to the extent that her personal account cannot be found on online platforms.
which can also explain why Zhang Yibei’s work language style is so unique a huge contrast with her own. This contrast actually brings tension to the artist’s work.
Zhang Qianbei’s works usually start from an abstract assumption.
Thinking about the relationship between the author, materials, and the artist’s ideas through assumptions as connections.
In this process of reflection, Zhang Qianbei, as the creator and expressionist of ideas, combines materials to achieve a “real” world, which in turn metaphorically represents a conceptual world.
Zhang Yibei: Vases and Holes
What is reality? Concepts are always one-sided, and neither the visual nor conceptual world can be defined as reality. Reality is complex and complete.
In her works, ideas and materials together constitute the image of the artist.
We can feel that Zhang Yibei’s works have a very strong personal style.
The image of the artist and works makes people think about the sequence between the experiences and experiences of the material and the artist. Therefore, in the strong personal style, the interaction between the artist and the material is also fully reflected. Perhaps our conclusion is still that materials, artists, and ideas coexist and are destined.
The materials chosen by artists, whether originating from nature or ready-made products, serve as metaphorical elements that reflect the artist’s own consciousness and subconscious.
In Zhang Yibei’s works, “hole” represents both an actual hole and a space. A closed or semi closed container or pipeline represents the state of flow.
The Hole
The process of creating “holes” is also a form of reshaping, bringing new abilities and possibilities, as well as multiple metaphors and substitutes.
Just like the blank canvas pierced by Fontana, shattering means liberation. For visitors to exhibitions, fixed holes on dead objects are actually more flexible. As the audience moves, they can also notice that the holes are actually changing. The interaction between the audience and the work is purely a process of the audience’s own perception.
And personal experience, combined with the participation, transformation, and flow of the work.
The holes in Zhang Yibei’s works are not only for imagination and virtual space, but also for concrete, concrete people, and abstract ideas.
However, the “holes” mentioned in the exhibition name are not the main body of Zhang Yibei’s works, and they are not deliberately portrayed.
However, we can see that these “holes” are sometimes real holes. For example, holes on the lid of a bread maker, indentations on the surface of a septic tank, air valves on a pressure cooker, or air outlets on an electric iron. Wait, the actual “pores” are always covered by the “pores” in the structure or space of the material.
Therefore, the holes in the exhibition are actually everywhere. Holes represent transcendence on objects, while the audience surrounded by the work is enveloped by a blank space like air.
Zhang Yibei’s Cavity
In short, for the concrete Kong, it is like a blank space in people’s lives, and this blank space is expressed in a poetic way by Zhang Yibei as blank space. For the abstract Kong, it contains infinite and rich energy, just like blank space begins with infinity, infinity begins with blank space.
Zhang Yibei mentioned several times in the interview his resistance to explaining the work. “When I was studying in the UK before, I would often discuss and explain works in small groups during class.” At that time, Zhang Yibei felt that it was a bit foolish to directly define her own works in the explanation. In her opinion, the interpretation of works has always been open. She joked to herself, “You can chat normally without talking about your own work.” Everything she wanted to say was included in her work.
Therefore, the “Kong” in Zhang Yibei’s works is not only a physical space, but also gives way to the audience in interpretation. The creator gives space to people who do not belong to the creator, which is a true form of communication.
