Light in Itself

On March 19 QI MU SPACE is to present “Light in itself”, Song Meng’s solo. The exhibition, centered on light, offers a self-service theatre where visitors can take whatever they need. 

Taking into full consideration of the exhibition condition, Song Meng chose altogether eight sets of works for this exhibition, his first solo. The reflection that an object produces with the light projected on it or the physical property of selective absorption was used as cognitive language for the replacement (illusion conducive) of media in the space. 

With the object’s capacity of reflection, absorption, or penetration of light varies, colors and light are produced. Luster is actually an indicator of the object’s reflection and absorption. To visitors, in such a self-service context that can leads to illusion, their spiritual interpretation of the luster can be refraction of this exhibition which can produce very strong effect on their inner world: “luster”. The artist considers the self-service exchange at the exhibition as a perceptual invitation, and all the language for communication comes from itself when light is projected on it. As he told us, “Luster, as something natural, can be a prefix or suffix to an object, either changing from a noun to an adjective or into something interchangeable. In the end refraction becomes a way of understanding.” 

“The Evoked Height” in this exhibition can be taken as a collection of the artist’s perception over time. It is about the reading and observation of light, as well as the imagination about sound, both being a form of perceptive induction, or a spear that is based on luster in a broader sense. “Lucky Invalid” turned the exhibition hall into a space for the opening optic imaging; “Synchronization Mirage” activates and links the context by borrowing the refraction in a mirage to synchronize perceptual simulation with a psychological span; “Careless Light” is a gift from nature that people find in the end; “Plain Reading” is the artist’s writing about “ordinary stuff” in nature, a wild story of the moment about the materialization of luster; “A Fairy Land Available·Pingpang Hole” mobilized many a medium to build a imaginary space that intersect with “luster” to build a fairyland that can measure institution and perception; “Seeds: Cool-Headed Visitors” takes advantage of the plasticized material and the out-lookers to show that it is the artist’s concretization of the formal “self-service” and a knot to be solved; “Spring” deals with transformation on a return visit, in which the artist hands himself over and questions himself.

About the artist:

Song Meng, born in 1980, is now based in Guangzhou and Beijing. He graduated from Luxun Academy of Fine Arts and Central Academy of Fine Arts.