Yijia Guo was born in Chengdu, China in 2000. She graduated from the Central Academy of Fine Arts in art history and is now studying print at the Royal College of Art. Her work and research originated from her interest in digital and online art, using different media in her practice.
My research revolves around the senses, memory and time.
How do those abstract memories appear to people through concrete carriers and images?
How do I construct my own relationship with the world?
Our memories always exist in unnameable and elusive forms, so I began to think about how to convey these emotions and feelings through visual images.
Digital art and internet art allowed me to find possibilities for connection, and I saw that some internet nostalgia art was able to bring people out of reality to briefly experience memories of the past and feel what the past feels like.These images are a combination of many people's memories, which are made up of similar memories to maximise the connection between the viewer and the image.
Through this visual form I intend to showcase the memories of Chinese children of my generation. To show how those memories, whether they are painful, sad or happy, discipline us, how they make us grow up and how they shape our identity.
Please sit, Please see
This is a multi-window video presented in the visual form of Dreamcore. It is about the memories of Chinese children growing up with the expectations, demands and discipline that shape our character and identity in the present. The image of the child without a face in the video could be anyone.
This work is about a imaginary child (an AI image that I have generated from my own photographs) and a chair.
When one really talks about childhood memories, one finds that they are unclear, just as these chairs gradually become smaller and blurrier. Making things that are distant seem to become clearer, while things that are close to us are instead more blurred.
Medium:Acrylic, paper, polyester sheet, UV print, stoneware clay, wooden chair
This work is an altarpiece. I model some sensory organs such as the cochlea and the hand in a strange pose, referring to the strange but beautiful images in Jeroen Bosch‘s "The Garden of Earthly Delights" in terms of form. The whole image is in a fictional space. The middle section is set against an urban background and mainly shows some strange sensory models in a contemporary allegory. The other sides are primitive as well as futuristic scenes.
Medium:wood, UV print
When I studied the course Cultural Heritage Conservation in my BA, I began to think about the significance of conservation and non-protection for the heritage itself. Anyue is a small town in my home province of Sichuan where the stone statues have suffered from a lack of protection, but this has resulted in very beautiful natural textures. It is a very contradictory experience, and what does it mean that these statues change every day and will one day disappear completely?