Immerse in the world without limits
In recent years, immersive art exhibitions have become a trend. The play of light and shade wraps the viewers into an illusionary world, seemingly without limits.
Fast-paced digital technology has altered the traditional experience, and most of these eye-opening art exhibitions focus on the dazzling visual reflection rather than the pursuit of profound thoughts.
However, the overall planning, creating and presentation of an immersive art show is no easy feat.
"It cost me and the whole team two years to implement this exhibition," said Bai Shui, one of the participating artists at the Shanghai Powerlong Museum's space art exhibition "RONG · Source" through February 25.
"RONG" (融) could be understood as "fusion," "dissolving," "melting," "glory" or "tolerance."
"This is a perfect theme to reveal our efforts in integrating art and technology," says Bai, who is also the initiator of the exhibition.
"The Pillar of Light" is a response to that theme.
"The Pillar of Light"
A triangular ice pillar stands in the exhibition hall, melting away by the time. In the background, a video tells the tedious journey of how it was transported thousands miles away from the Qinghai-Tibet Plateau, where the water originated, to Shanghai.
This installation was created in two rounds.
The team first gathered some water from the river of Wusongkou, the intersection of the Yangtze and Huangpu rivers. The water was precipitated, filtered and frozen into a crystal pillar with the size of 1800 × 450 × 450mm to be transported all the way from Shanghai to northwest China's Qinghai Province, where it finally ended at Kangrinpoche, the main peak of Mount Kailash.
Then the team began their second round.
They gathered some water from Lake Manasarovar, a high altitude freshwater lake fed by the Kailash Glaciers near Mount Kailash – one of the four sacred mountains in Tibetan Buddhism, and brought it all the way back to Shanghai. The "sacred water" was then mixed with water collected in Wusongkou and frozen into three ice pillars for use in the exhibition.
"Sounds quite futile and Sisyphus?" Bai said with a chuckle. "So much energy, money and labor were lavished on this piece. Although it sounded like a mission reversing time and space, we found ourselves utterly powerless as artists."
The "Tea Room" is another installation by Bai.
"Tea Room"
In a dome-structured room, a tea table is put in the center surrounded with rows of transparent tea cups on all sides. Looking up at the dome, visitors can see images of the changing sky and clouds of Tibet.
Here, religion collides with the reality of life, and reality with illusion.
"Due to the outbreak of COVID-19, everyone might need such a 'Tea Room' to nestle his or her soul," Bai said. "The room could be something tangible or intangible in our life."
Bai Shui
Born in Jingjiang, Jiangsu Province, Bai went to Australia for her study for 10 years when she was a teenager. After returning to China, she has engaged in design, art creations and art foundation for more than a decade. In 2017, she was honored as "Outstanding Women in the World" by the United Nations Department of Public Information.
Q: The "Pillar of Light" demanded several months of labor and effort. Yet what finally unveils in front of the viewers seems a mission in vain. What's the meaning of doing that?
This is a team work, an anti-nature performing art. Through this work, visitors might be aware of the power of nature. I also prefer to reflect the value of "finding the usefulness in the process of uselessness."
In the process, we encountered a series of obstacles and difficulties, including altitude stress and cultural differences. But everyone tried their best, and that's what moved me most.
Q: What prompted you to create the "Tea Room"?
Actually the original idea for the exhibition comes from the "Tea Room." It is made up of the teacups called Rakin Bowl that I designed.
On the surface, it seems easier to make than the "Pillar of Light." Because it didn't need to go through a long journey with a complicated process.
However, what's in one's mind is difficult to present in reality and design. The final presentation of the work dramatically differs from my first draft, but it perfectly meets my original concept through another unexpected sublimation.
Q: What do you mean by a Rakin Bowl?
All the components in this "Tea Room" involve the shape of water drop including the teacups. The idea comes from nature. I am quite keen on the transparency of the material. Apart from glass and crystal, I have tried using some innovative materials, such as propylene, and space materials.
Q: The "Wing of the Wind" is a mechanic installation. What kind of message do you want to render to the viewers?
To be honest, it is my favorite work at the exhibition. Many of us saw the prayer flags in Tibet before. But it was through a professor who stayed there for three decades that I had a thorough understanding of these prayer flags.
Rather than decoration, each prayer flag has its own content which could be sutra or blessing. Those who stand up for a prayer flag believe that these good wishes could be spread to the world via the wind.
Here wind is not only viewed as a natural power, but also a romantic act. The movement of this mechanic installation is based on the data collected from the wind speed on the prayer flags in Tibet.
I am glad that this work connects the exhibition space with the distant world via technology.
Q: You furthered your study in Australia when you were still a little girl, how do you think Western culture impacted on your understanding of oriental culture?
My early experience in Australia had a huge impact on nurturing my thoughts toward life, natural laws, aesthetics and social rules.
Western culture is more direct and intuitive. It focuses on the harmony of and the coexistence between human and nature. With the insight and intuitiveness of Western culture, it is easier for me to discover the beauty in details of oriental culture and simplify and refine them into my works.
