NEW YORK, NY.- Today, the boundary between humans and machines is becoming increasingly blurred. Baudrillard once used original concepts such as "simulation," "implosion," "model," and "code" to describe a hyperreal cultural landscape where the boundaries between virtual and reality have been erased. In this contemporary era, artist Angel Jiaqi Qin explores new dimensions of human identity with her unique perspective and bold artistic practices. Her work not only challenges our perception of traditional aesthetics but also delves into the complex relationships between individuals and collectives, nature and artifice in the digital age.
Angel (Jiaqi) Qin is a mixed media designer, visual artist, and art director from London. She excels at using existing elements in life to "break the circle" of various "defined" elements in life, and any medium seems to become fertile soil for her to deconstruct and rebuild. Her rebellion against the alienation and colonization of consumerism in life is manifested in her works through the use of various materials to create intimate connections between them, making everyday items that have been defined and disciplined in regularized life into new roles in a new world. Angel 's artistic creation deeply explores the evolving relationship between human identity, technological progress, and environmental awareness.
Weaving and Deconstruction: Open Narrative Structures in the Digital Age
Angel proposes the core idea that "weaving is a process of deconstruction" in her artistic practice, which not only runs through many of her works but also reflects her profound understanding of the essence of artistic creation. In the work "I+0=I," Angel cleverly constructs a state that transcends the framework of conventional logical thinking through the use of the mathematical symbol zero (0) - symbolizing both nothingness and infinite possibilities. This mode of expression is not only a challenge to traditional concepts but also an in-depth exploration of paradoxical issues existing in modern society.
"I+0=I" utilizes the mathematical addition formula, where "I" represents the individual or existence, and "0" is given a richer symbolic meaning. In mathematics, zero usually represents an empty set, meaning the absence of any elements; however, in Angel's work, zero gains a new interpretation. It is no longer just a representation of nothingness but becomes a conceptual container that can encompass all possibilities. As the artist says, "It is 'the set of all four-sided triangles,' 'the set of all numbers greater than nine but less than eight,'" these seemingly contradictory definitions actually point to a broader space for thinking, revealing the complexity and diversity hidden beneath the surface of things. The open narrative approach embodied in "I+0=I" breaks the traditional linear thinking mode. Compared to past artistic expression methods that emphasize causal relationships and pursue clear conclusions, Angel tends to create an artistic atmosphere with blurred boundaries and full of exploratory meaning.
Cultural Collision: Challenging Traditional Aesthetic Concepts
Angel's artistic practice is deeply influenced by her cross-cultural background. She points out, "The influence of Chinese and Japanese cultures manifests as a form of Eastern philosophical thought; while Western education has given me the pursuit of avant-garde style." This unique personal experience allows her to view the world from a more open and diverse perspective, and to boldly break existing artistic frameworks, constantly seeking new breakthroughs in creation. In "In the Garden," she combines the delicacy of Eastern aesthetics with Western critical thinking to create a new form of artistic expression that both retains the essence of traditional culture and incorporates modern aesthetic concepts.
By choosing to display elegant flower arrangements in the bathroom, one of the most private and ordinary spaces in daily life, Angel aims to explore the blurred boundary between beauty and practicality. "In the Garden" boldly breaks this convention, proposing that regardless of the conditions, any place can become a container for beauty with appropriate artistic treatment. "In the Garden" also reflects Angel's concern about how the environment affects individual perception and self-identity.
As a transitional zone between private and public spaces, the bathroom symbolizes the tension between personal privacy and social norms. By introducing floral elements here, the artist seems to suggest a point: even in situations generally considered "inappropriate" or "unsuitable," everyone can still find their own way of expression and thus shape unique identity characteristics. This further embodies Angel's commitment to exploring the theme of human identity changes against the backdrop of technological progress.
Human-Machine Integration: Exploring Possibilities of Digital Future Relationships
Angel Qin's "White Euphoria" series is undoubtedly one of her most visually striking and thought-provoking works. This series takes household appliances as objects, designing and dressing them in a series of sexy lingerie. This bold and creative approach not only brings a strong visual shock to the audience but more importantly, it profoundly reflects the increasingly blurred boundary between "living" and "dead" objects in modern society. After entering the 20th century, lace and women's underwear gradually transformed from purely functional and status symbols to symbols of female self-expression and sexiness. The emergence of household appliances and industrial production became important factors in gradually liberating women from traditional family roles in the mid-20th century.
By endowing cold machinery with garments symbolizing vitality, "White Euphoria" creates a unique space between reality and imagination. Here, the relationship between humans and technology is no longer oppositional or unilaterally dependent but evolves into a more intimate and dynamically balanced state. In future social forms, with the development of technologies such as artificial intelligence, the relationship between humans and machines will become more complex and interdependent. This change compels us to think about how to establish a new mode of coexistence - one that respects technological progress while maintaining the essence of humanity unchanged. Additionally, "White Euphoria" also sparks broad discussions about identity and states of existence. When household appliances are given anthropomorphic qualities, they are no longer simple functional carriers but become existences that can evoke emotional resonance. This forces people to re-examine their relationship with their surrounding environment.
Through her creative and inspiring works, Angel shows us how to redefine ourselves in a rapidly changing technological environment. She always considers how to create interactions between development, tradition, and reality; perhaps being an environmental interventionist is the role Angel plays in her creations. The artistic language she creates not only transcends the boundaries of regional cultures but also transcends the limitations of time, encouraging us to maintain an open attitude when facing future uncertainties. As she says, "Art is a more intuitive way of creating 'images'," through these impressive visual experiences, Angel invites every viewer to join this broad discussion about the meaning of existence and future forms.
