IB VISUAL ARTS 2025

Yixin (ANNIE)

Curatorial Rationale

My exhibition explores the concept of a "Posthuman Ecology," an interdisciplinary framework that blends post humanist theory with ecological awareness. This perspective aims to challenge anthropocentric worldviews and reimagines the relationship between humans and the broader web of life. Rather than placing humans outside or above nature, my work explores an interwoven space where the boundaries between human and nonhuman begin to blur. These works were made to question the limits of human identity and invite viewers into a reimagined ecological landscape.

My choice of the theme of "Posthuman Ecology" stems from my daily fascination with nature and my close observation of its subtleties, which I believe are full of vitality and inseparable from human existence. For me, nature is not a static object, but a living entity that is inseparable from human beings. At the same time, after experiencing several incidents of human wanton consumption of the natural world, such as the nuclear wastewater incident in Japan. I no longer see humans as isolated individuals, or species that dominate nature, but as part of a large and dynamic natural system. These understandings put responsibility, sustainability and humility at the core of my work. By repositioning humans in ecological networks, my work not only challenges me and my viewers to rethink what it means to be human but also challenges us to think about how to coexist differently in a future shared with other life forms.

The exhibition explores two dimensions:

Micro: A close-up exploration of the human body, where skin, limbs, and organs become integrated with nature.

Macro: A broader perspective of a post-ecological world, where the overall figure and environment undergo transformations, suggesting a hybrid future and a complex ecology.

In some of my works such as <Metamorphosis> and <Palingenesis>. I utilize soft pastel tones, particularly purples, pinks, greens, and blues. These colours not only enhance the aesthetic quality of the paintings but also allow me to create a delicate and nuanced atmosphere through layering and masking techniques.

My style shifts between realism and surrealism. Realism allows me to present forms in a direct and intuitive way, while surrealist techniques, such as juxtaposing common objects in unfamiliar combinations, create a sense of alienation between human and nature. This defamiliarization renders the familiar unfamiliar, encouraging viewers to rethink the structures that define human and ecological existence.

Materials and artform play a central role in this exploration, and my exhibition encompasses sculpture, photography, painting, and watercolour. Many of my works related to the ocean are created in watercolour, as its transparency and fluidity naturally resonate with the qualities of water itself. In contrast, my wire sculptures, such as those depicting wings, reference technology and man-made structures, their sturdy metal frames symbolizing the weight of human intervention. Even the inclusion of artificial moss emphasizes the tension between the "natural" and the "artificial." Finally, oil paint is used most frequently, allowing me to capture realistic images through its ability to combine delicate smudges with thicker daubs.

The exhibition will be presented through a lens that revolves around microscopic and macroscopic perspectives. My work encompasses land, air, and ocean. Focusing on the details of human organs and the integration of nature, I aim to immerse the viewer in a layered experience of the intersection of diverse ecosystems.

The exhibition's compositional arrangement features macro-themed works on the left, depicting scenes of heaven, sea, and land; while micro-themed works on the right focus the viewer's attention on details and particulars. This juxtaposition guides the viewer from the vastness of the world to the microcosm of life, from the grand order of the whole to the delicate texture of the individual.

I'm deeply influenced by Francisco Abril and Nuria Velasco, whose works are full of grotesque and dreamlike qualities, often fusing humans with natural creatures. These surreal scenes seem like they're in a dream, yet they present them with delicate oil painting techniques and dreamy colors. As they said, "we always provide a counterbalance to that more distressing side, showing that even in those circumstances there can be beauty." Their approach inspired me to develop my own creative themes of Posthuman Ecology, focusing on subject matter of human biomorphic and the respective environment.