In series of Jing Xiaolei's works, an image of a “future man” is created, or whether it can be called a human is also a question. “Human” exists as an image in his works, but actually it has nothing to do with the flesh. These warriors armed to teeth seem to come from science fiction movies, while the indication of people can only be seen in the image. Even in the sculpture Prophecy, Jing Xiaolei even blurs the characteristics of male and female, which means there is even no gender distinction between these images. This is the future scene of mankind portrayed by Jing Xiaolei with sculptures. History will be constantly described and verified, which is trying to get close to the truth, but the future is a kind of uncertain form, expected or unexpected. The future imagined by the artist is a combination of past historical experience and present reaction. Jing Xiaolei adopted large monumental sculptures and science fiction elements in contemporary popular culture in his sculptures to display his description of future scenes. There are two kinds of creations in the film, one is Lumiere's documentary tradition based on reality, which reflects the visible reality, and the other is the imaginative tradition formed by Mélière, which focuses on the invisible. In virtue of the tradition of movies, Jing Xiaolei's works are somewhere in between the two, so when we face his “future man”, what we feel through these images is like the changes in the real world reflected in stainless steel.
In series of Jing Xiaolei's works, an image of a “future man” is created, or whether it can be called a human is also a question. “Human” exists as an image in his works, but actually it has nothing to do with the flesh. Even in the sculpture Prophecy, Jing Xiaolei even blurs the characteristics of male and female, which means there is even no gender distinction between these images. This is the future scene of mankind portrayed by Jing Xiaolei with sculptures. History will be constantly described and verified, which is trying to get close to the truth, but the future is a kind of uncertain form, expected or unexpected. The future imagined by the artist is a combination of past historical experience and present reaction. Jing Xiaolei adopted large monumental sculptures and science fiction elements in contemporary popular culture in his sculptures to display his description of future scenes. There are two kinds of creations in the film, one is Lumiere's documentary tradition based on reality, which reflects the visible reality, and the other is the imaginative tradition formed by Mélière, which focuses on the invisible. In virtue of the tradition of movies, Jing Xiaolei's works are somewhere in between the two, so when we face his “future man”, what we feel through these images is like the changes in the real world reflected in stainless steel.
