Shan Hai Jing · Classics of Mountains and Seas

Mount Niuyang.

The mountain is the breast of the Earth Mother.

Guang.

Lushu.

Gathering greens, eating breath.

Sing the human.

Strip the skin, pull the shin.

Wear the pelt on the body.

Speaks:

Children and grandchildren fill the hall.

Cantonese people —

are human.

Catch them.

Boil.

Human supplements human.

Shan Hai Jing / Classics of Mountains and Seas: A Contemporary Monsterology.

June — December 2016, Kunming / Jingdezhen. During the Three Years Retreat, the artist took chapter-carving as ritual and the chisel as incantation, carving more than a hundred seals, rubbing them in cinnabar, and binding them into a thread-stitched album. The Dongba creation epic “Chongban Tu” — the name of the creator “Caogu Tiannenggu”, the flood motif, and the hermaphroditic cosmology — were, via Deleuze's “deterritorialization / reterritorialization”, transformed into the flowing space of “mountains-mountains-seas-seas”; the rupture of desire within abstinence and observance of precepts was, via Foucault's “technologies of the self”, forged into inscriptions of a subjective practice. It is the blade-carved variant of “Conceptual Landscape”, the rubbing-pre-history of “Mask Archaeology” (नकाब / Maska), and a Naxi artist's eternal interrogation: from where does humanity come, and toward where does it go?