I am compelled to recount my first impressions and thoughts upon viewing the recent work of Li Ge. Upon entering the viewing space I was confronted with a construction of eight flag-like hanging banners (seven white and one red - each about 3’x5’) strung in a symmetrical, carousel-like manner, that were quietly and serenely rotating. There were four projectors projecting images onto the flags, all consistently displaying the same image. The images consisted of a wide range of random subject matter such as traffic signs, a child’s dress, flowers, architecture, etc. The images were changed in approximately three-second increments, all of which were black and white except for certain chosen elements that were an intense punchy red.
Before having a chance to fully absorb the work, I was initially captivated by the illumination emanating from the structure; this left me feeling curious to experience the work. I began trying to decode what I was seeing. It seemed obvious that the color red was being used symbolically, triggering a cultural, political, or sociological reference point. I felt strongly at this point that Ge was taking on a truly monumental position in the piece. Possible conceptual and symbolic uses for the color red penetrated my mind -power, blood, love, death, sacrifice, evil, pain, heat and so on. As I focused on the imagery I tried to make sense of the images I was seeing, and how the color red fit into this scenario. The images changed at random and eventually began to repeat, seemingly arbitrary.
This format evoked such a promising first impression, raising certain expectations, but seemed to lack intent and overall conceptual development. Ultimately, I was left with questions regarding the commentary/statement in which Ge was bringing to the table. What was truly the artist’s intent here? I wanted desperately to connect emotionally with the work, but ultimately I could not, rather, I was left to ponder and doubt the artists true motives regarding this piece.
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