Wu Ding

Wu Ding

Born in 1982, Wu Ding lives and works in Shanghai now. He graduated from the School of Intermedia Art of China Academy of Art and specialized in contemporary video creation. Wu engages himself in the “order” within time and space, aspiring to explore the perceptible yet indescribable “inner order” hidden in the world. His works appeared in the Art Museum of China Academy of Art (Hangzhou, 2019), Today Art Museum (Beijing, 2018), the Anren Biennale (Chengdu, 2017), Taikang Space (Beijing, 2016), Shanghai 21st Century Minsheng Art Museum (Shanghai, 2015), and other galleries and exhibitions. His recent solo exhibitions include The History of the Circle I (Jimei × Arles International Photo Festival, Xiamen, 2019), The Rhythm of Ultimate II (Don Gallery, Shanghai, 2017), The Rhythm of Ultimate I (Shanghai Minsheng Art Museum, Shanghai, 2016), and The Reality of Dimension III (M50, Shanghai, 2015), and he participated in the group exhibition Lianzhou Foto Festival (2014). His works were nominated for Jimei × Arles Discovery Award (2019) and Huayu Youth Award (2014). Also, in 2015, Wu was an artist in residence at Manchester’s Centre for Chinese Contemporary Art.

People describe the world, yet the world remains as it is shown

 

2012-2022

Digital light box

63 × 43 × 4 cm

 

For years, I have been studying the “sense of order” within time and space and exploring the relationships between shapes and texts, images and images, images and texts, images and space… By experimenting with perceptions of multiple dimensions, I hope to offer a way to explore the nature of the world and invent a technical view for understanding the internal coding of technical images.

 

The world is being reorganized in different ways that lead things to synchronize with each other. This new situation has broken the established laws of physics. However, it is an irreversible trend in an ordered area. All that the visibles, the perceivables, and the imaginables get classified, thus establishing our connection with the world. The real rhythm does not come from a precise sequencer. The less we know about reality, the closer we get to the real rhythm.

 

For me, this series probably plays a “basso continuo” role in my several projects. They are coded in different ways in a matrix, allowing the audience to use their bodies as an interchange that connects what they see with reality by using their imagination, knowledge, and analogy. As you ponder on how the shapes and texts interact with each other throughout the series, you will notice that they intersect as much as they parallel, yet they are not complementary unless the audiences use their own perception and imagination. This allows the audience to go deeper into my works and makes it possible to connect with the real world.

 

 

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