If there is a form, there is a shadow. Of course, if we use the Buddhist theory of cause and effect, if there is a cause, there must be an effect. In addition to the paper sculpture art that he is good at in the past, Beijing-based artist Li Hongbo has also transferred the material to kitchen knives that are essential in Eastern culture. He recently launched a solo exhibition of knife shadows at Contemporary by Angela Li in Hong Kong.
Li Hongbos works all explore the extension and space of paper, and are inspired by the paper gourds of folk crafts. He even uses the thin and soft characteristics of paper through folding techniques to subvert the feeling of the material. Take the paper sculpture art pictured below as an example. The work that looks like a cement statue expands like a spring when you pull it. This work has become an eye-catching artistic creation.
In addition to the malleable cement statues, this time Li Hongbo also created carvings on kitchen knives. The objects carved on the surface of each knife are metaphors about human eating habits. When excessive greed and slaughter of the animals under the knife At this time, the destruction of the balance of nature will eventually lead human beings to the stage of self-destruction.
In fact, metal engraving is not uncommon, but there is an ulterior reason for choosing a kitchen knife. China’s food culture is famous for “everything that moves can be eaten”, and sumptuous dishes are a great way to bring friends and family together. A must-have treat for gatherings.
The blade surface behind the emptiness seems to symbolize the passing of the soul under the blade, and the extendable metal sheet and the projected light and shadow lines are vaguely corresponding to each other. When faced with the superb technology of metal carving, perhaps with a little more care we can understand the artists intention behind caring for the environment and humanity.
The hard and difficult-to-change material is actually like peoples stubbornness towards traditions and habits. It continues Li Hongbos past telescopicity and continues to subvert the definitions and ideas of viewers.
