Yuan Zhuang’s artistic vision is deeply influenced by existential philosophy and real-life events that shaped human experiences. In her profound exploration of melancholy and hope, she draws inspiration from the words of Albert Camus and a tragic event, the 2017 fire in Beijing’s Daxing District.
Quoting Albert Camus’ “The Myth of Sisyphus,” Yuan Zhuang delves into the dual nature of melancholy, suggesting it arises from a lack of understanding or steadfast hope. Towards the end of 2017, a fire broke out in Beijing’s Daxing District, a place where many migrant workers lived. Nineteen lives, including children, were lost due to inadequate firefighting equipment. The aftermath saw Beijing authorities using the pretext of rectifying safety hazards to evict so-called “low-end population.” These descriptions underscore Yuan Zhuang’s critique of the authorities’ indifference and cruelty towards marginalized groups.
Artist Yuan Zhuang points out in her work that the severity of this disaster was primarily due to the lack of adequate firefighting equipment. This reflects the difficult living conditions faced by the lower strata of society and the government’s shortcomings in ensuring public safety. The story behind the artwork mentions the Beijing government’s expulsion of the so-called “low-end population” after the fire. Her questioning of the government’s treatment of these marginalized groups implies criticism of the government’s indifference and injustice in addressing social issues. In particular, she notes that these people may have been welcomed during the 2008 Beijing Olympics, but are now being forced out, even without time to take their families and pets. This plot highlights the instability of government policies and the unfair treatment of marginalized groups.
In response to these profound reflections, Yuan Zhuang created a neon word sculpture as a tangible symbol of hope. The sculpture presents yellow and black lines, symbolizing the duality of light and darkness, optimism and despair. Placed in a desolate wasteland far from the bustling city center of Beijing, it becomes a beacon of hope amidst urban decay and gloom.
Through her artwork, Yuan Zhuang invites viewers to contemplate the nature of hope in adversity. Contrasting the neon sculpture with the barren landscape evokes feelings of isolation and vulnerability, yet also expresses the resilience of the human spirit. While her work depicts harsh realities, Yuan Zhuang still offers a glimmer of hope, reminding us that even in the darkest moments, redemption and renewal are possible.
50x50cm
2017
Yuan Zhuang’s exploration of melancholy and hope serves as a profound reminder of the complexity of the human condition. Through her art, she confronts existential questions and challenges viewers’ perceptions of life, loss, and the pursuit of meaning. In a world filled with uncertainty and turmoil, Yuan Zhuang’s work conveys a message of resilience and perseverance, urging us to seek hope in darkness.
Melancholy people have two reasons for being so: they don’t know or they hope.——Albert Camus‘The Myth of Sisyphus’ Combining Yuan Zhuang’s artwork with Camus’ quote, we can see that Yuan Zhuang deeply explores the dual nature of melancholy and hope in her art. Camus states that melancholy people have two reasons: they don’t know or they hope. Yuan Zhuang presents this duality in her work, triggering profound reflections on the human condition.
By quoting Camus’ words, Yuan Zhuang delves into the origins of melancholy. She suggests that melancholy may stem from a lack of understanding or steadfast hope. This resonates with Camus’ assertion that melancholy arises from a lack of understanding or hope. Secondly, Yuan Zhuang’s artistic responses showcase the presence of hope in despair. She created a neon word sculpture symbolizing hope amidst darkness. Placed amidst ruins, the sculpture delineates the presence of hope in bright colors, aligning with Camus’ idea of hope opposing despair.
Yuan Zhuang’s artworks prompt deep reflections on the human condition. Through her art, viewers are invited to ponder the significance of finding hope in adversity. This concept touches on socio-political issues, reflecting Yuan Zhuang’s concern for the fate of marginalized groups in society, and implies her questioning of the policies and approaches of government authorities.
In summary, Yuan Zhuang’s artworks conceptually reflect her concern for the fate of marginalized groups in society and challenge and reflect on the policies and approaches of governmen¥t authorities. Her works are not only artistic expressions but also critical responses and appeals to social realities.
