Dingyi Feng

 

 Digital virtual artist, designer, DJ and lives in London and Beijing. 

Academic History

2020-2021, Chelsea College of Arts, University of the Arts London, Major: Fine Art

2019-2020, Central Saint Martins College of Art and Design, Major: Fine Art 2D

2018-2019, Chelsea College of Arts, University of the Arts London, Short course: Soft Furnishings for Interior Designers

2015-2018, Fine Arts College, Jimei University, Major: Environmental Design

Working Experience

 

2021, No One And You, Qingdao,Selfstudio

2021, Six Sites, Chelseamafa Online

2021, Heterotopia: Ephemeral Realty, London, Mafa International Festival

2020, A Dialogue In Winter: Winter Action, Yanjiao, Biennial Art

2020, Late at Tate: Constructing Landscapes/Building Words, Tate Britain Online

2020, Healing Landscapes, London, Cookhouse Gallery

2020, "ACOUSMA" experimental  sound art, Beijing, No Space Gallery

2020, Nowshowing 2020:Post Mass Media, London, UALCSSA

2020, ARTRHINE “ZHAI” virtual exhibition, Beijing, Artrhine International Art Center

2019, "THE GREENROOM", London, Central Saint Martin

2019, "ARTIFICE, IMITATION, CAMOUFLAGE", London, Central Saint Martin

2018, "FACT OF ART" summer exhibition, Beijing, FA International Art Center

2017, "Yunnan Resident Series" report art Exhibition, Xiamen, Zhongshan Memorial Hall of Jimei University

2016, Wuyuan Tourism Bureau joint - "Ancient Village Series" works exhibition, Wuyuan Art Museum

 

Publishing Projects

 

2020,MAFAzine,  Issue-2

​2020,MAFAzine, Issue-1

 

Publications

2021, 'Artist of the Year 2020', Beijing, China Economy Daily Press

Media

2020, The New Wave, artist interview, KUART  

2020,“CONTINUITY & QHAKAZA” ,Independent Curator 

2020, Covid-19 special, friendship interviews, Byeberryblue 

2020, Nowshowing, artist interview, UALCSSA 

2020,"ZHAI", artist interview, Artrhine Platform

2020, Special project, artist interview, Graduates Art Fair 

Residencies

2017Yunnan Residency,Yunnan,China

2016,Wuyuan Tourism Bureau joint - "Ancient Village Residency,Fujian,China

My practice is centered on abstract painting, and also includes some videos, installations and experimental music. My research in painting is about a method of using computer-generated techniques to deconstruct  and appropriate images. I use this method to raise questions about the value of images and the themes of particular times.These images are collected from accidental or soon forgotten symbols in the post-Internet era, such as misunderstanding of art history, distorted images, bugs in games, nostalgic products with national attributes, etc, to explore things beyond rationality and reality.These elements have their own narrative and history, and in combination with the rapidly produced images of the computer age form a new abstract painting language.In this combination, a special dialogue relationship is formed between the past and the modern products, which transcends the original identity and function, so as to explore the perception of the new painting order in some nostalgic and historical consciousness.

My image production mainly uses 3D modeling software to re-appropriate, destroy and collage the original image, including processing the material properties of different objects.These collected images are always accompanied by a kind of fiction, which is generated by the modern medium of the computer, perfectly restoring the relationship between the virtual and the real.I tried to reduce these images to simplicity, capturing parts, while preserving visual attributes and features, and amplifying the impression in the picture.Through partial interception and texture rearrangement of these images, everything becomes unfamiliar and unrecognizable.This leads to the intrusion and destruction of the value given to the object itself. I put this lost order and generated equality into the hierarchical painting logic.This hierarchical logic is derived from the transformation between plane placement into 3D and then into 2D in 3D virtual modeling. This combination of computer mechanization and manual work, reproduction and re-appropriation of post-production, is influenced by artists Richard Hamilton and Elaine Sturtevant.

Meanwhile, acrylic and rock color are part of the media that make up my painting. These two materials bring together the opposite and contradictory states of "solid" and "transparent". A variety of spatial senses merge into a visual surface, which equates the new and the old, the abstract and the pattern, the clear and the incomplete, the perfect and the wrong.Such juxtaposition produces a sense of coincidence, produces abstract visual rhythm, and full of tension. Also, through the expansion of this creativity, a kind of reflection and questioning on the order and value of painting is triggered.