Artist Statement

With the rapid development of science and technology, especially the artificial intelligence, we have been brought into an unprecedented state of excitement and confusion. Yet, the contemporary philosophy, ethics or art could have not prepared properly confronted the marvels, changes, and  fragments produced by the technology.

The so-called ‘contemporary’ of contemporary art is not an infatuation with the newly emerging means and media of artistic creation, but a realisation and expression of the emotions of the present era. ‘Copy’ is not only an important means of creative activities currently, but also a legitimate status of ‘existence’ in the new stage of human civilisation. As we still exist as the ‘original’, how could we perceive the ‘copy’ with its rationality and legitimacy? How could we appreciate the value of the ‘copy’ and the ‘original’ and explore the possibility of their transformative implications - would there be an assumption that the ‘copy’ go beyond and then control the ‘original’ in the future?

 

Over these years, I have never deliberately avoided classical art. Instead, I have a strong personal attachment to it. This attachment is from my preferences for style and images, as well as my past belief that human beings would have always lived in history and the future would unfold itself within it. Nonetheless, the future is sped up by the artificial intelligence and I could not help wondering: would this new future comes with, demasking and manifestation, or would it turn the logic of human history upside down, make the spiritual expression in aphasia, disable the 

existing social mechanism, and then bring the history of human to an end?

Cakes could refer to desires and temptations, forgetfulness and protection, celebration and remembrance, as well as closure and beginning. Then, whose celebration would the blue-light coating cake take on this time?

Romantic history.

Fractured future.

Pang Maokun

2019.12