无处陶大珉 Nowhere Tao Damin
意识划痕陶显 Sense Scratch Tao Xian
No.54 Caochangdi(old airport road), Chaoyang District, Beijing, China
The word “nowhere” has multiple meanings. Literally, it means “not anywhere; in or at or to no place” and collocates with words such as “place”, “back” and “hide”. As for Tao Damin’s paintings, “nowhere” means a state which consists of space, objects and figures.
Inspired by movies and Manet, Tao Damin depicts common things and scenes, which are modified in size and color, in his own way to convey his experience and idea. Painting in a dark tone, his presents us tranquil, secret and restrained tableaux.
Things and scenes, even figures and scenery, are like still life in his paintings. “More specifically, he turns everything into still life and makes them is olated through separating them from the original environment.” This, as his usual way of painting, actually shows his doubt about existence. Therefore, his paintings are like philosophical fictions to some extent. Every work, being the fruit of his reflection and knowledge, is one chapter of his idea of painting.
陶显用绘画，摄影和版画作为载体，探讨科技和电子媒体的发展是如何不断改变个体乃至整个人类社会的 观看体验。陶显将她的绘画看作是一个个屏幕——就如同画布作为连接观者和画面的界限，屏幕以同样的方式划分了使用者和电子世界。她从偶然出现的电子系统故障为灵感，将这种带有电子故障的视觉效果转换成不断出现在画面上的图形，仿佛她的作品也变成了出现故障的屏幕。通过重新诠释这一视觉效果，这些绘画作品将观者的注意力再次带到回到了绘画平面上，自文艺复兴开始人们就一直假定画面是透明的，通过它，我们可以看清一切。这些作品不仅关注电子世界里的身份构造,同时通过描绘亚洲色情服务工作 者，触及到了性别以及合法性等一系列社会问题。
Tao Xian primarily works with painting, photography, and print. Through these means of expression, she provides her creations with critical understandings of the contemporary world, raising questions of the changing connection between individuals and overall society as a result of technology and digital media. Specifically, she treats her canvas as screens——in the same way as a canvas marks the boundary between the viewer and the pictorial dimension, the screen underlines the division between the user and the digital world. Finding inspirations in the occasional crashes of technological systems, she ingeniously turns the visual effect of such a “glitch" into a recurring motif of her recent paintings, as if her works become malfunctioned screens. By virtue of this visual effect, these paintings give attention to the picture plane, which has long been assumed transparent especially since the Renaissance as people believe that everything that it reflects is real. In terms of their significance, these works not only inquire into the notion of identity in the digital world but also by portraying female Asian sex workers, touch upon complicated social issues such as gender and legality.