Submission
Chen Pin Tao aka AznGothBoy

Violin Makers and Seamstresses I: The Caveman, The Literati, The Iconoclast

Chen Pin Tao aka AznGothBoy solo exhibition at deSarthe Gallery, Hong Kong.


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Chen Pin Tao, Seraph 001-005, 2021, Digital print on faux silk, embroidery on faux silk, feathers, LED light, animal head mask, 350 x 310 x 200 cm
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Chen Pin Tao, Drumheads 001, 2021, drums, drumsticks, digital print on t-shirt, faux leather, 193 x 210 x 150 cm
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Chen Pin Tao, Seraph 003-005, 2021, Digital print on faux silk, embroidery on faux silk, feathers, LED light, animal head mask, 350 x 310 x 200 cm
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Chen Pin Tao, Tribesman and Opps, 2021, Acrylic, white-out, oil pastel on canvas, 91.5 x 61 cm
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Chen Pin Tao, Seraph 002, 2021, Digital print on faux silk, embroidery on faux silk, feathers, LED light, animal head mask, 350 x 310 x 200 cm
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Chen Pin Tao, The Making of a Flawed World, 2021, Wood, taxidermized snake, paper clay, glass beads, body piercing jewellery, jello powder, epoxy clay, PVC, acrylic glass, styrofoam, acrylic, steel wire, fluorescent light, monster dildo, faux grass, 3M gloves, crytals, silicone, 170 x 30 x 30 cm
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Chen Pin Tao, Gimp 001 (Decapitated), 2020, Acrylic glass, resin, magnets, inkjet print on paper, latex mask, fishing lure, stainless steel chains, crystals, 45 x 38 x 38 cm
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Chen Pin Tao, Tatlin’s Tower (Corpse), 2021, Acrylic glass, fishing rod holder, taxidermized moths, inkjet print on paper, resin, dried cicada shells, skull beads, steel wire, 3D print filament, crystals, expoxy clay, 75 x 38 x 38 cm
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Chen Pin Tao, Being 002 (Decapitated)(Pelvishead), 2019, Acrylic on PVC pelvis model, faux patent leather, 160 x 30 x 15 cm
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Chen Pin Tao, Angel 001, digital print on canvas, PVC skeleton model, spray paint, steel chains, monster energy, holy water bottle, 3M gloves, taxidermized bird, sporting shoes, weed socks, 220 x 200 x 40 cm
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Chen Pin Tao, Bust of a Tribesman (Sealed), 2020, Faux fur, paper clay, 3M gloves, body piercing jewellery, PVC acupuncture ear model, snake skin, glass beads, 65 x 45 x 25 cm
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Chen Pin Tao, Cleaner 001, 2021, fabric, cat head mask, latex gloves, oil pastel on cardboard, inkjet print on paper, 170 x 110 x 90 cm
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Chen Pin Tao, Equine (Mutilated), 2021, Stainless steel chains, birdcages, resin, latex mask, taxidermized bird, acrylic glass, figurines, cow skull, fluorescent light, taxidermized moths, jello powder, digital print on faux silk, horse hooves, yu-gi-oh cards, artificial bird nests, horse dildo, mannequin, dimensions variable
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The power struggle for cultural and political domination of global capitalism gives birth to the contemporary Chinese man. He is shanzhai, a blank slate ready to appropriate, adopt, simulate, and reinvent. He is meta, a spiritual anarchist, old traditions eradicated, leaving us with fertile ground after slashing and burning, or in other words, an existential void, filled up with nihilistic primal aggression.

The violin is a metaphor for chaos, entropy, potentia, creation, and decay. Inside the primordial chaos of the cosmic soup, the ontological natures of art-making flirts with the traditional trope of the figure. The unearthing of three distinctive “psychic” modes: The Caveman, The Literati, and The Iconoclast serves as active agents and producers. The unconscious occupation of these roles allows for an anachronistic exploration of the materialist nature of spirituality and the visceral body, interwoven within imagery and the deeply coded systems of objects. The emergence of narratives within a fetishistic and animistic framework constructs and deconstructs realities with leitmotifs across scales to unfold the potential of an evolutionary gesamtkunstwerk as both metaphor and formal manifestation on site.

Liminal spaces of contemplation carved out by clinical curtains accommodating millennial nostalgia, fakeness, and decay. Figuration of idiosyncratic subjects confronts the notion of cultural programming, reality manipulation, and portrays human life as a live action role playing game under the culturally void context of a “post-cultural revolution” Chinese accelerationist geist. Looking through the lens of secular nihility, a yearning for post-secular modes of existence and their respective visual language unfolds in the midst of exuberant excess.