The effect of ethnic experiences by different worlds has altered artists’ perceptions on their notion of depicting fine art, which is displayed in their series of artworks. Performers including Wenda Gu, Shayne Higson and William Kentridge demonstrate different aspects of the cultural world they reside in such as their particular background, demonstrated through their particular artist’s practice. Wenda Gu questions the distinction among cultural different languages, race and gender in the artworks Usa Nation, 2001 and Forest of rock steles, 1993-2003.
Similarly, Bill Kentridge gives his encounters through the differentiation and splitting up of people by their skin shades shown in the artworks Retraite of the dispossessed, 1989 and Procession inside the landscape with highmast, 1989.
While Shayne Higson displays her ethnical world through her real life experience of the political issue that is developing in Australia which can be emerging in her artworks Unsuitable, 2k and Give me Warmth, 2004.
These artists’ cultural encounter significantly shows their practice through their artworks. Wenda Gu was developed in chinese suppliers and managed to graduate from the Shanghai school of Arts in 1979.
He gained involvement in the creation of unreadable calligraphy when he relates this to his lack of understanding towards many seal-style character types. Gu started to establish imitation Chinese character types since this individual became inspired by the oversight he made, which in turn lead him into creating an artwork that difficulties the traditional moderate through its monumental size and false ideograms.
His idea was going to contrast that to the handling traditions. Nevertheless his art work was not acknowledged to be revealed to the public mainly because it showed simply no political communications like propagandas that rewards Chinese’s culture. Due to his countries’ being rejected, Gu still left for America where he could actually test out his hobbies. Wenda Gu explored many issues in relation to the concerns of get across cultural understanding and the changing of globe cultures reacting to globalisation.
These principles are being displayed in his artwork ‘United Nations’, proven in the Nationwide gallery of Australia; exactly where Gu uses human frizzy hair from several country and assemble it into clear wall that is designed specifically for a rustic. The assembly allows the audience to connect to the art as they deconstruct Gu’s idea and what he is trying to express. There was clearly various means of interpreting his work, in that time global issues impact the way people decoded the artwork.
In accordance to various countries, hair was seen as possibly their soul or a rendering of power, while its coloring reflects the multiculturalism in Australia. The unit installation also involves scrolls that contain a combination of Oriental seal program and other countries’ character, hung above the translucent screen, that was aim to provoke queries on social and ethnicity divides. One more of wenda Gu’s set up ‘ Forest of stone steles’ is set up by having natural stone slabs being place on the ground and 162 ink rubbings all around the wall space.
These parts have calligraphies that this individual has once again created to problem the notion of translation. The audience could easily misinterpret the characters because they are unreadable therefore only shows the lack of ethnical understanding. He uses script to give a good idea of how he felt toward his social experiences through the importance of languages as it displays identity via individual’s type of writing. Chinese’s controlling traditions in art had shaped Wenda Gu’s concept of depicting identity as he questions that through textual content using calligraphy relating that to problems like translation and globalisation.
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