The world around us has turned into a multilayered structure with constantly expanding realities. Thanks to the technological revolution, we are surrounded constantly by the flow of information. So where does silence fit in to such a world? What do we do when some piece of information is not available? How do our memories work when the requirement to remember is a mere flash drive? These questions along with many more are raised in the work of Lin Jingjing. This contemporary Chinese artist works with a mixed media and performances, touching upon quite fugitive topics. Her main point of interest is the paradoxical nature of a human life; she tries to explore various phenomena and go deep into the human soul.
In her photo project Rose Rose, she presents the images of rose buds with stitched petals. Such a fragile symbol of beauty and life, brutally infused with an abrasive element. But if you think about it, at the exact moment of blossoming, the flower does being to decay. So these stitches also prevent the rose from dying in a way. Most amazing is the affect Lin Jingjing’s work has on the viewer. Once the artist noticed a crying woman standing in front of the photos. She said that the roses reminded her of the way she was treating her daughter – strict, demanding, tyrannical even, all as a attempt to provide a better future for her… just like these tender, yet damaged flowers with a stitches which are also painful but helpful. Another multilayered Lin Jingjing’s project is all about memory. It is a kind of exposition on human memory, collective and private. With the emergence of photography people gained the perfect proof of their existence. But, unfortunately, as the time and generations go by, all that is left is just a formal knowledge of the nominal relations. In the project called Private Memory, Lin jingjing uses her personal photo archive and setts the pictures in a traditional Chinese pharmacy. The disturbing detail is the fact that she cut out the faces on each photo; there is no remedy from the loss and memory fading, it is just the way life goes.
In her other project CCTV News she used imagery from the public group events and a variety of political photos, all stitched along with the Coca-Cola branding. In China there is a very special understanding of the communication between an individual and a collective, especially taking into account the communist past. Each photo has a distinct feature – there is always some kind of a leading figure and that’s precisely whom Lin Jingjing decided to cut out. The nature of media, as well as a collective memory is a tricky one. Leaders come and go, relationships towards the past change. There is a silent emptiness in these images, when people are left only with themselves.
Lin Jingjing methods are very delicate; they do not exude the artist’s ego or any real kind of a strong opinion. Her art works give a vast field for reflection by just setting the tone of the discussion. Her oeuvre is a unique one in terms of interpretation; it is relatable and personal to anyone anywhere. That’s why she plans to hold a series of performances around the glove and we are anxiously waiting for that.