“Symmetry is what we see at a glance based on the fact that there is no reason for any difference...”
—— Blaise Pascal （ French Mathematician, Physician, 1623—1662年)
Most lives are driven by an autobiographical narrative whose asymmetrical tension with the experience of physical world is encapsulated by the sense of self doubt experienced when one stands before a mirror. It is this tension which has driven the search for objective truth by way of art, religion and science throughout the course of human civilization - a process at times of creeping advancement and at others of revolutionary restructuring.
The English term symmetry derives from the Greek symmetria - defined as “having a common sense of measure”. It is both a hard truth born of repeated observation in nature and an elusive democratic term requiring human consensus on memory and reflection.
Wu Di’s work has long explored the tensions in symmetry through the repeated production of the figure and the presentation of doubles and twins. Her latest paintings draw inspiration from mid to late renaissance painters and in particular Da Vinci whose studies revolutionized the approach to counter positioning figures. It invites an exploration of the multidisciplinary approach to image making of the time infusing the sciences of color, light and anatomy into the production of classical religious paintings. Wudi additionally draws inspiration from the tension between the asymmetrical approaches posited by Taoist philosophy in an effort to achieve “Wu Wei” or “the path” - on the one hand promoting the amalgamation of all perception into a miasmic whole and on the other suggesting an ascetic withdrawal from all human observation. Her latest works both abstract and representational are a continuation of her profound exploration of the possibility of bringing into symmetry the linear temporal process of painting with the instantaneous perception of the image.
Exhibition support：CLC Gallery Venture
展览支持：CLC Gallery Venture