Between Dimensions 当幻想成为他宣泄的方式

November 4, 2021 2021年11月4日
Self-direction (2020) Oil on canvas / 200 x 310cm 《自我趋向》(2020) 布面油画 / 200 x 300 厘米

The book Red Sorghum earned Chinese author Mo Yan the Nobel Prize in Literature in 2012. In the novel, folk tales, history, and contemporary ideas are merged together in a “hallucinatory realism” that captures the imagination of readers. It was novels such as this and One Hundred Years of Solitude by Gabriel García Márquez that drove the unprecedented popularity of the literary genre magic realism in 1980s China. It is a genre that has allowed Chinese artists and writers to find new potential for their craft.

Shang Chengxiang creates magic-realistic paintings that take audiences on journeys through unparalleled wonders. With his works, he looks to visualize the hidden truths and desires of the unconscious mind. These sentiments can be manifested in dreams, a place where we all are able to assess what is happening in the deepest recesses of our subconscious. For Shang Chengxiang, dreams are a prism through which he conjures his fantastical.

Much of Shang’s work feels as if they’re produced through his stream of unconsciousness, with motifs and themes culled directly from the depths of a fantasy world. “In dreams, there are always unstable, vague emotions that you can’t identify for sure,” says Shang. “And those emotions are exactly what I look for.”

中国著名作家莫言于 1986 年出版的《红高粱家族》是一部融合了民间故事、历史和当代理念的 “幻觉现实主义”小说。其和加布里埃尔·加西亚·马尔克斯 (Gabriel García Márquez) 的《百年孤独》共同推动了魔幻现实主义在 80 年代中国的空前盛行,也正是这些文学体裁,让中国艺术家和作者挖掘出全新的创作潜力。



Borderless No. 5 (2021) Graphite on paper / 60 x 60cm 《无界 No. 5》 (2021) 纸上石墨 / 60 x 60 厘米
Untitled (2021) Graphite on paper / 60 x 60cm 未命名 (2020) 纸上石墨 / 60 x 60 厘米

Many of Shang’s works more resemble photos than paintings, peppered with lifelike details. For example Immortality, which portrays a giant beating heart entombed within an underground vault. Perhaps it’s a metaphor for an unspoken love or it could be a story of having to conceal one’s feelings deep inside as a means of protecting themselves or a significant other. Maybe it’s simply rhetorical; Shang is always somewhat reluctant to reveal his full thoughts behind each artwork, leaving room for diverse interpretations and re-imaginations.

Born and raised in Shenyang, Shang witnessed the city fall from grace as a place of significance in China–it was a city synonymous with heavy industry and is now China’s rustbelt. This change in the city reflects the broken dreams of many of the inhabitants as their lives became more difficult. It also offers an explanation of Shang’s path towards magical realism; as his hopes and dreams for the city diminished so he began to tap into fantasies to express his frustrations.



Immortality (2018) Oil on canvas / 47.5 x 68.5cm 《不朽》(2018) 布面油画 / 47.5 x 68.5 厘米
Borderless No. 1 (2020) Oil on canvas / 200 x 300cm 《无界 No. 1》(2020) 布面油画 / 200 x 300 厘米

Shang’s paintings also evoke a sense of awe. His compositions have a realistic foundation in which he inserts surreal objects such as the giant globe-like disco balls in Borderless No. 1. Two figures with their backs to us sit atop some stairs that lead to these disco balls. Their legs dangle off the edge like children on a tall chair. But clearly, these are adults, their gender unclear from our vantage point as they sit with backs to the viewer and peer directly into the glimmering spheres.

His artwork focuses on underlying human emotions, leaving his audience with an elusive ambiguity. “My work contains lots of emotions,” says Shang. “I love to set up the suspense in my work which enables people to think.” Like all great art, his works ask viewers to reflect on the meaning of this to us as individuals and what it may represent to the artist himself; does it even matter what he intended it to mean if it makes us think about the world in a new light?

商成祥的画作能带给观众敬畏之感。他的作品以现实主义为基础,在此之上加入超现实主义的元素,例如《无界系列No. 1》中的巨大迪斯科球,画面中两个成年人坐在通往这些迪斯科球的楼梯上,双腿在边缘晃荡;他们背对着观众而坐,凝视着眼前巨大的发光球体。



Multiple Dimensions (2020) Oil on canvas / 133 x 170cm 《多维世界》(2020) 布面油画 / 133 x 170 厘米
Divine Trace (2020) Oil on canvas / 160 x 160cm 《神迹》(2020) 布面油画 / 160 x 160 厘米
Self-direction No. 7 (2021) Oil on canvas / 180 x 200cm 《自我趋向》(2021) 布面油画 / 180 x 200 厘米

There are many recurring motifs in Shang’s work, such as the ocean and bodies of water. Water, and the sea specifically, he believes, evokes a sense of the unknown. Multiple Dimensions is characteristic of Shang’s use of the ocean as a metaphysical space of mystery. In the painting, a black hole-like void emerges from the sea, bursting through the surface pursued by a wondrous psychedelic color field. Juxtaposed against this fantasy-like imagery is the photorealistic quality of the water—a Shang signature throughout his oeuvre—the detail in the splashing water convincing the viewer that this scene is credible.

Then there are motifs of space and the cosmos, another recurring theme throughout his oeuvre. In Thoughtsn, viewers are presented with a swirling galaxy floating in the corridor of an apartment building. The door of a room is open with the spiral galaxy–reminiscent of Andromeda–seeming to emerge from it. The juxtaposition of this nebula in a confined space alludes to the endless possibilities of the cosmic dreams of unconsciousness.



Thoughtsn (2021) Oil on canvas / 145 x 200cm 《第N次思考》(2021) 布面油画 / 145 x 200 厘米

The diversity of the mediums he uses is another distinct feature of Shang’s work. “I like oil because I am used to painting thick and heavy then leaving tiny marks with a fine brush,” he explains. “In this way, my art feels freer.” In his most recent paintings, however, he has begun experimenting with other mediums.

We No. 1 uses acrylic paint and takes viewers below the ocean surface. Beneath waves, two reef sharks swim above a house covered in snow. Inside the window, two backlit figures stand with their backs to each other. Despite the subtlety of the body language, the standoff between the sharks aptly captures the tension between the pair within the cabin.

Shang uses watercolor on paper in The Way You Look No. 2, again featuring an ocean beast this time a humpback whale. Another anonymous female figure is involved; she is standing on a piece of dead sea coral reaching out and gently touching the whale. The sense between human and creature is peaceful and loving with an underlying sadness, the type of dream where you awake and almost want to cry but don’t know why.



We No. 3 (2021) Acrylic on canvas / 60 x 80cm 《我们 No. 3》(2021) 布面丙烯 / 60 x 80 厘米
We No. 2 (2021) Acrylic on canvas / 60 x 80cm 《我们 No. 2》(2021) 布面丙烯 / 60 x 80 厘米
We No. 1 (2021) Acrylic on canvas / 50 x 60cm 《我们 No. 1》(2021) 布面丙烯 / 50 x 60 厘米

Shang Chengxiang’s latest works focus on the concept of space and time, with circular and spiral movements, and human thoughts and emotions held within this framework. Although seemingly ambiguous, his art draws viewers in and leaves them contemplating on the line between fantasy and reality. That is the beauty of his art: it is witty and thought-provoking yet also simply beautiful to look at.

His latest exhibition, Sunshine on Another Afternoon, is Shang’s third solo show at ART LABOR Gallery. This show delves deeper into his surrealist practice, including 19 new works, and brings the audience ever closer to the artist’s quest to uncover the mysteries of the universe.


商成祥的最新展览取名为《另一个下午的阳光》,这是他在 ART LABOR 画廊举办的第三次个展。这场展览深入探讨了他的超现实主义风格,一共包括 19 幅新作,观众得以进一步走近这位艺术家,探索自我与幻想之间的关联。

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Contributor: Misha Maruma
Chinese Translation: Olivia Li

Like our stories? Follow us on Facebook and Instagram.


供稿人: Misha Maruma
英译中: Olivia Li