was born into a sculpture family. Pu Yijun searched for it, but finally walked towards this familiar path. Unlike the classical rigor of grandfather Pu Tiansheng and the humanistic romance of father Pu Haoming, she injected her exploration of life into the cold stainless steel texture with delicate emotions, making her works full of poetry and endless charm, and was recognized by the Paris Autumn Salon seven times.
Art Childhood Daily Calling the Road to Sculpture
Talking about the sculptor Pu Yijun, it is hard not to start with her family background. My great-grandfather Chen Chengbo, my grandfather Pu Tiansheng, and my father Pu Haoming were lined up, like an artistic family.
Sculptor - Pu Yijun
Grandfather Pu Tiansheng is a Taiwanese realistic sculptor. His works are rigorous and restrained. He once said: "I devoted my life to sculptures, and sculptures have also given me my life." My father Pu Haoming studied in France and has a humanistic and romantic feeling. When Pu Yijun talks about the two elders in his family, he does not see the mission or anxiety of inheritance, but is full of warm childhood memories. In my childhood in my memory, the huge and tall studio at home, the bright patio, the ladders for adults to climb up and down, and the wraps and plastic covers to prevent the sculpture from drying. These images penetrated into the little Pu Yijun's brain bit by bit and were stored safely. She probably never thought that she would extract them one by one in the future. In the studio of
, there are memories of helping clean the environment during the winter and summer vacations. Pu Yijun pulled out nails, piled up soil, and climbed into his father's big model to dig soil. When talking about these experiences, he was not at all depressed or dissatisfied, and only had the fulfilling pleasure of working with his brothers and sisters. But at that time, she did not regard her as a sculptor in such a life as her ambition.
Although I have been influenced by art and sculpture since I was a child, my family unanimously believed that the artist's life was too hard. Xiao Pu Yijun studied well according to worldly expectations, studied hard, and obtained good results, and chose a good school and a good subject. However, when I was young, I always looked up to remind me when I was watching my grandfather’s creation in the attic, and it seemed that I was more suitable for doing something different.
The real miss always emerge after leaving, and the same is true for Pu Yijun. When she was doing ordinary work and living a normal life, she began to remember the days when art was as normal as her breathing, and then she suddenly realized how important it was.
In the past, she tried various media and worked in installation art. In the end, she still returned to the original point and was in love with sculpture. Sculpture is a familiar and comfortable artistic presentation method that reminds her of the fragrance of mud when she was a child. But it is also very challenging to use it to capture those images floating in the air. For Pu Yijun, the possibility of carrying out various possibilities in stability is the reason why the sculpture is fascinating.
Pu Yijun's sculptor's guided work
Asking in Freedom Let the work lead yourself to find the answer
In artistic creation, Pu Yijun's father did not impose any restrictions on her. However, having more freedom means having to bet on more minds to make your own sculptures take shape. Pu Yijun's works were born in the road of self-search. For example, when you hear the name, you will see the works of "Find the Name of the Rose" and "Traveler Series".
"Traveler Series" has a distinct image, a semi-abstract humanoid with slender limbs, always fluttering hair and wearing a cloak. Pu Yijun said that she had always had such a figure in her mind, walking towards her from afar. People came to the world and started a journey. What exactly should they look for? Pu Yijun used "traveler" to raise a rebuttal to life.
"Traveler Series 7", "Traveler Series 4", "Traveler Series 5"
The traveler walking alone in the empty universe seems lonely and alienated, but when you look closely at the cold texture of stainless steel, the tiny refraction of undeliberate polishing, the natural and delicate touch of hand-shaping, and the warm cloak with childhood memories show the warmth injected by the artist. Pu Yijun’s questions about life have her tenderness.
"Traveler Series 3"
Pu Yijun discovered in her self-search that she is good at expressing the touch of sculpture. Compared with her grandfather and father, she shows the unique delicateness of a woman in the texture of her works.Unlike the classic and ancient bronze creations used by adults, she chose silver-gray stainless steel material with never-ending characteristics among many media materials in the industrial era. Coincidentally, in addition to the colors and characteristics she likes, stainless steel also has its compositions that complement the meteorite images in her works.
material and subject matter are attracted and met each other, rather than deliberately making do with it. Such a fateful explanation is also reflected in the structure of the work. Pu Yijun's sculpture looks slender, and the third update of "Lovers Series" is more than 100 centimeters high, and it will not fall even if the earthquake comes. She said that if the sculpture can stand perfectly, the shape will be beautiful. Physical structure and aesthetics are so closely related.
"Lovers Series 5-We Meet Like Clouds"
The same is true for the ladder in "Small Universe Series". At first I just wanted to build a pedestal for the ladder, but the overall look was too light, so I made a measurement for it, but the final product was like a ladder growing on a stone. For Pu Yijun, the creation begins with emotion, and the finale should be given to reason. Artists should adjust the structure or placement in a clear state of mind, so that the viewer can have a clear intuitive feeling of the work in an instant.
In addition to the material and structure, the birth of the work itself can also be naturally consistent. For example, in "Lovers Series", there was a work born from this: the "Traveler Series" which was originally two separate pieces were remodeled and tied together. When I picked it up, I found that they were stuck tightly. Pu Yijun did not force me to return to the original appearance and let them be truly united.
"Lovers Series 2"
Zhang Ailing's love happened to catch up with in the endless wilderness of time. Isn't it the best annotation for these two travelers to become lovers? Coincidentally, there is also a work in "Lovers Series". At an exhibition, the woman's part was sold, and the remaining man followed Pu Yijun to continue his journey. Joys and sorrows between people are always happening, and the works we are watching are also witnessing such a truth.
In front of art, Pu Yijun has an open attitude towards creation and can still be seen in the "Rose Series". "Looking for the Name of Rose" Yuanxian hopes to be the rose transformed into a girl, which can have a soft petal shape. However, at the moment of creation, the wire was penetrated, as if it was a rose thorn, and she followed it to make the thorn manifest from the backbone of the rose. Then in Series 3, she intended to make a thorny feeling, but this time the thorn seemed soft, as if there were tender leaves slightly rising. She also let it grow and wrote "Turn into Branches".
"Rose Series 3-Turn into Branches"
's works always lead the artist forward, explain her, and let her know what she looks like now. Pu Yijun's creative process is very special. Most of her not drafting first or shaping it directly, and finally draw a sketch for her work. Only at the moment of painting can you understand what the work wants to tell her, and you can unconsciously make the work a clone of your current state of mind.
also leads her. Just as she liked to go to other departments during her college years to study courses such as Russian literature and psychology, for Pu Yijun, the extensive knowledge in the sea of books is a treasure to be picked up. Therefore, we can always see the diverse crystals she has absorbed in the introduction text of the exhibit. Pu Yijun always uses the word "meet" to describe her relationship with books. When she has some doubts about life or needs inspiration, she will go to the bookstore or library to pick up a book and open one of the pages with her divination-style intuition. But this method can also allow her to get a response given by the universe.
"Hidden the Soul 14 Light Years " exhibition area
She said that books can help people, and she will express her gratitude to books in her work "Scenery in the Book". The spread out stainless steel pages have mountains and rivers, and there are two people standing on the opposite pages, just like two souls talking through time and space. What may be doubts and answers, or sparks of creation.
"Scenery in the Book"
Exploring the Possibility of Sculpture Finding the Eternal Journey
Pu Yijun's hands have the ability to turn the words of the book into a sculpture. Not only that, she can also turn the essential soul of the sculpture into words, and this exhibition is like this.
In July this year, Pu Yijun's exhibition at the Humanities Far Everlasting Museum was named "Light Years Crossing the Soul". "Time travel", "soul", and "light years", these three people were sitting in a narrow train car, capturing the nouns that flashed in their minds, and they could all be in their works to get a stable and appropriate corresponding position. The
exhibition kicks off the "Time Travel" with an abstract work "The Channel of the Wind" of 130 cm high. This connected double spiral curved sculpture presents Pu Yijun's cosmic view. In terms of literature, it is the "Twenty Billion Light Years of Loneliness" by the Japanese poet Shintaro Tanikawa: "Gratitude is the power of loneliness that pulls each other."
"The Channel of the Wind"
Judging from the diameter of the earth of 2 billion light years, the figures on the mottled meteorites in the "Small Universe" series, and the long ladder leading to it, seem so distant and insignificant in the vast world.
"Traveler" and "Rose" series are also facing each other in such time and space. The semi-abstract humanoids have their own problems in the universe and grow into what they should be without being bound. This also corresponds to Pu Yijun’s questions about life at the beginning of his creation and the answers she got in the sculpture?
After traveling through time and space, it is the second exhibition of “soul”. Pu Yijun said that every soul in the world has its own problems that they cannot escape.
"Mini Universe Series - The Ladder of Heaven"
And every soul cannot get rid of it, there is a body. In the new series "Body", Pu Yijun tried to create the sculpture's body lighter, allowing people to extend their sight to the shadow of the work, just like reminding people to always maintain awareness of the world and observe their true homework.
Compared with such a detached attitude, the concept of "lovers" is often full of persistence and attachment to the world. The exhibition hall tells stories of different souls according to the comparison arrangement.
"Shell Series: 1-Crossing the River"
Then, what we welcomed through the sea of people is "light years". Works such as "Looking Back" and "Existence" are travelers who take steps between heaven and earth to explore themselves. They are arranged in a straight line like time traveling until the last "Secret", which is a work made by Pu Yijun combined with practical small objects.
As an important item to carry with you in the past, a pair of keys are embedded in the thirty-eight centimeters of person, right in the heart, with the sincerity and warmth of being close to oneself. Practical old things have been reborn in this form.
"Secret"
At the beginning of the exhibition, the large-sized "The Channel of the Wind" shows a vast time and space. When you walk to the end, this sketch with an exclusive sense of personal belongings seems to be talking about the lonely soul scattered on the planet. In the light years, there is finally a place to place secrets.
stationary stainless steel sculpture is also in this flow of time. They stand for eternity, silently watching the passing crowds and events, allowing various lives and stories to travel through them. At the same time, they also flow in different exhibition halls to create their own journey. The large-sized "The Channel of the Wind" and Pu Yijun's sculptor
, and Pu Yijun's pursuit journey continues. She will regularly use Chopard's "Nocturne" as the bell, under the subtle lights of the studio, experiment with the different touches of stainless steel, think about more diverse themes, let intuition lead her to various possibilities of sculpture, and also walk forward to the path of artist in her heart.
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