Introduction: The exhibition extracted two positions in Su Xinping's creation to form a "Horizon". One is a small lithograph created more than 20 years, another is a series of pieces of landscape or portrait that he recently created. The "horizon" that was once fixed on lithograph seems to have never disappeared from Su Xinping's heart.
The author's redefinition of the landscape is initially revealed in the atomization on the picture, after which his treatment of the landscape is more internalized. He will indefinitely prolong the unfinished state of the creation, altering it or adding a pircture at any time. The "Wasteland" seems to be the production of such creation in a more thorough way. Starting from a small piece of paper, he creates a lot of small sketches to complete the final puzzle style work. No matter how delicate it is, no fragments can respectively bear its responsibility. But the delicacy is the requisite for its creation. In the assembly over and over again, these pieces show a strange chaos, with a kind of power of reorganization. Certainly, they’ve finally combined into a wilderness with a horizon. Its way of drawing and presenting itself shows a vague sense of fragility and a will of re-regulaiton.
Even for the creation of portraits, whether they are hands or head portraits, are implied of being landscapes and treated in a same way in Su Xinping’s creation. As in modern art, the portraits’ abstraction not only rejects of classical aesthetics in its painting language, but also reshapes the inner consciousness in the creation. The landscaping of Su Xinping’s portraits seems to re-install the fragmented portrait and body through the divine time and space in his lithograph.
Su Xinping has said many times that he wants to return to the "inner heart", which has been explained to some extent in his creation. In the lithograph of the Mongolian grassland, there is a clear horizon in his sense of space, and the time flows between the rising sun and the darkness of the night. However, we are in a modern state of "Things change, people stays". Just as his lithographs have worn away, only leaving the prints as the objects of inner consciousness, he calls it "inner heart." This inner object must go through being worn, deformed, or even broken. It needs to be reshaped newly to reject the termination and let life prevail.
The title of this exhibition is inspired from Modiano's novel "Horizon" When people are young, the horizon represents promise. After a few decades, the horizon represents the lost time, when the horizon can be assembled repeatedly like a jigsaw puzzle. Experiencing the dislocation of modern time, people are required to have a long-lasting confidence in this game to assume a horizon puzzle without breaks in the development of natural time, and use the will to impel a new horizon.