Mingkun Zhang (b.1998) currently lives and studies between London and Beijing.
Education:
2022 - 2023 MA Royal College of Art
2017 - 2021 BFA Beijing Film Academy
As a young independent artist, her work ventures into metaphysical and philosophical realms, exploring the intricate interplay between humanity and the vast expanse beyond. Guided by curiosity, she seeks to illuminate the profound connections that bind individuals to their surroundings.
This project consists of two parts: Amulets and The Wishing Pool, which represents an ongoing exploration of the profound connection between humans and emotionally charged objects. The underlying concept aims to elevate ordinary items into meaningful artefacts.
In the first phase, Amulets I delve into individuals' beliefs and emotional projections through the symbolism of amulets. When ordinary objects are imbued with emotional significance, they transcend their mundane nature and become sacred talismans. Drawing inspiration from Plato's Theory of Eidos, which posits that the existence of natural and man-made objects is derived from their respective forms, I strive to materialise metaphysical concepts within the realm of the material world.
In the second part, The Wishing Pool I embark on the task of transmuting a toilet into a symbolic vessel of wishes through subjective emotional projection and underlying ideas. While exploring the notion of "Eidos," I transcend the constraints of the three-dimensional realm. However, during the investigation and derivation of these "Eidos," I find myself confined by their limitations. To address this paradox, I deliberately shatter the "Wishing Pool" using a hammer. By breaking the three-dimensional form of my artwork, my intention is to detach the idea from the physical artefact itself and delve into the essence of its existence.
Originally designed for the disposal of waste and impurities, the vessel is transformed into a symbol of wishes through its underlying concept. Once the toilet is shattered, its fragmented pieces will forever exist within the narrative context of the past tense, serving as a lasting symbol of the wishing pool. Although the three-dimensional entity of the artwork ceases to exist, but art itself still. This raises the fundamental question: is art itself a manifestation of ideas?
Amulets are powerful symbols that transcend cultural boundaries, serving as protective talismans against malevolent forces. In my artistic exploration, I have delved into the captivating realm of amulets, employing archival and typological methodologies to construct an evocative collection. At the heart of this endeavor lies my personal connection, beginning with my own name as an emblematic amulet.
Within this archive, I have discerned three overarching categories, each bearing distinct characteristics. The first category encompasses religious artifacts, such as Buddhist beads and statues, which embody the strength of faith. These objects embody the profound belief that a divine presence will safeguard and guide those who adhere to its teachings.
The second category revolves around objects that provide emotional sustenance. Whether it be a cherished childhood toy or an item that has journeyed with us through the passage of time, these objects acquire an intangible essence. They undergo a magnetic transformation, transcending their materiality and assuming a spiritual significance in our lives.
The third category centers on artifacts tied to beloved individuals, such as photographs of parents or tattoos commemorating significant milestones. Within these tokens, we project our innermost emotions, imbuing them with profound meaning and forging a profound connection. They become a wellspring of solace, a tangible link to those who hold deep importance in our hearts.
In the exploration of my own name as an amulet, I find resonance with the diverse ways in which individuals define and select their own talismans. While the specific forms may differ, they all share a common thread—they bestow a spiritual essence upon an object. Through this alchemical process, an intricate tapestry of connection unfurls, weaving together humanity's bond with the multidimensional world in which we exist.
As physical beings inhabiting a three-dimensional realm, we also embody a dimension of spirit. This exploration invites contemplation of the intricate relationship between humanity and the world at large, and the profound attachments we form with objects that elicit deep emotional responses.
Within this artistic endeavor, I seek to illuminate the intricate tapestry of human existence, intertwining the tangible and intangible, the material and spiritual. Through an exploration of amulets and their profound significance, I delve into the essence of our connection with the world, the profound emotional ties we forge with objects, and the spiritual sustenance they offer.
I find that the life portrayed in advertising is always overly perfect and idealised, where goods become wrapped up in people's dreams.
In this work I have tried to use the parallax effect to break the two-dimensional limits of the image, and portray a vision of a better life created by capital that can be fulfilled through the act of consumption.
This vision is wrapped as a gift and the dream is burst when the wrapping is unwrapped. The naked truth is overwhelming and the gift is rewrapped in broken paper.
