Cai Guo Qiang was conceived in Quanzhou, Fujian Province of China in the year 1957. Cai Guo-Qiang picked up a presentation to Traditional Chinese artistic expressions and Western writing as an impact of his dad's occupation, who was a customary painter and a calligrapher, and worked in a book shop. Cai experienced childhood in the period, which was under social pressures of the Cultural Revolution, as a young person, Cai himself partook in the parades and different showings. His recollections and encounters of the different types of blasts, for example, firecrackers of festivity and gun balls, had a profound effect on his inventive streak and creative ability. Making the works of art by black powder blasts turned into his mark style. It can be said that he was, in a path attempting to delineate the great and the awful courses in which black powder can be utilized, through his craft.
"The Spring and Fall of a Small Town" and "Genuine Kung Fu of Shaolin" were the two military craftsmanship motion pictures that Cai acted in the late adolescents and mid twenties. Cai, captivated by the impact of Western fine arts and the advancement of it, selected into the Shanghai Theater Academy to study stage plan from 1981 to 1985. The information he procured from this gave him a comprehension of the different components and practices of the phase and a feeling of cooperation, spatial courses of action and the significance of intelligence.
Aside from the experimentation and utilization of black powder to make his fine arts, Cai worked with stick-figure and additionally conceptual examples with oil amid the time of the New flood of 1985, after which Cai moved to Japan when the development picked up energy amid 1986.
Fine art
The topic and the subject of Cai Guo Quiang's works draw from a variety of different conventions, essentially the eastern custom; images, stories and things, for example, science, Chinese solutions, plants and creatures, fengshui, shanshui depictions, likeness and in particular, firecrackers. Cai draws the substance of his specialty from the contemporary social issues, eastern rationality and from the Maoist estimations, that are delineated with the assistance of explosive drawings that depicts the precept of Mao Zedong "devastate nothing, make nothing."
At the point when Cai needs to take a shot at a particular site, he regularly insinuates the history and the way of life of that particular district or place where the work is to be exhibited. Cai, with regards to the historical backdrop of Chinese contemporary workmanship has a ""basically" vital part, since he was among the initial couple of craftsmen who contributed by starting the talk of the Chinese craftsmanship.
"Ventures for Extraterrestrials"
With the coming of the 90s, Cai began the "Activities for Extraterrestrials". Cai took a shot at the undertaking utilizing humongous trails and lines of flaring black powder spreading over immense surfaces and scenes. These ventures have been normally site-particular and were performed in different nations and areas over the world. As the name, "Task to Extend the Great Wall of China by 10,000 Meters: Project for Extraterrestrials No. 10" (1993) shows, the venture included the utilization of 6 miles in length wire of black powder, which was extended a far distance the western end of the Great Wall whence the Gobi Desert began. After ignition of the wire it smoldered for 15 minutes, which made an example similar to a winged serpent, which is the image of antiquated legendary and magnificent legacy of China. The motivation behind the title of the arrangement's roots from Cai's faith in the production of excellence and euphoria with the assistance of a natural clash, for example, the "material fuel" to pick up a higher point of view through the festival of unadulterated vitality.
Explosive works
Cai needed to break the repetitiveness of the social atmosphere, and in addition the conventional aesthetic practices in China, which were more controlled and smothered articulations of craftsmanship, this he accomplished with the assistance of black powder to create suddenness. Amid his stay in Japan from 1986 to 1995, Cai broadly tested the properties of black powder in his fine arts, which in the end prepared him to investigate monstrous explosives and the origin of the "blast occasions". As a consequence of an imaginative trade between the United States and the Asian nations, advanced by a universal association called the Asian Cultural Council situated in New York, Cai moved to New York in 1995.Cai Guo-Qiang
Cai Guo Qiang was conceived in Quanzhou, Fujian Province of China in the year 1957. Cai Guo-Qiang picked up a presentation to Traditional Chinese artistic expressions and Western writing as an impact of his dad's occupation, who was a customary painter and a calligrapher, and worked in a book shop. Cai experienced childhood in the period, which was under social pressures of the Cultural Revolution, as a young person, Cai himself partook in the parades and different showings. His recollections and encounters of the different types of blasts, for example, firecrackers of festivity and gun balls, had a profound effect on his inventive streak and creative ability. Making the works of art by black powder blasts turned into his mark style. It can be said that he was, in a path attempting to delineate the great and the awful courses in which black powder can be utilized, through his craft.
"The Spring and Fall of a Small Town" and "Genuine Kung Fu of Shaolin" were the two military craftsmanship motion pictures that Cai acted in the late adolescents and mid twenties. Cai, captivated by the impact of Western fine arts and the advancement of it, selected into the Shanghai Theater Academy to study stage plan from 1981 to 1985. The information he procured from this gave him a comprehension of the different components and practices of the phase and a feeling of cooperation, spatial courses of action and the significance of intelligence.
Aside from the experimentation and utilization of black powder to make his fine arts, Cai worked with stick-figure and additionally conceptual examples with oil amid the time of the New flood of 1985, after which Cai moved to Japan when the development picked up energy amid 1986.
Fine art
The topic and the subject of Cai Guo Quiang's works draw from a variety of different conventions, essentially the eastern custom; images, stories and things, for example, science, Chinese solutions, plants and creatures, fengshui, shanshui depictions, likeness and in particular, firecrackers. Cai draws the substance of his specialty from the contemporary social issues, eastern rationality and from the Maoist estimations, that are delineated with the assistance of explosive drawings that depicts the precept of Mao Zedong "devastate nothing, make nothing."
At the point when Cai needs to take a shot at a particular site, he regularly insinuates the history and the way of life of that particular district or place where the work is to be exhibited. Cai, with regards to the historical backdrop of Chinese contemporary workmanship has a ""basically" vital part, since he was among the initial couple of craftsmen who contributed by starting the talk of the Chinese craftsmanship.
"Ventures for Extraterrestrials"
With the coming of the 90s, Cai began the "Activities for Extraterrestrials". Cai took a shot at the undertaking utilizing humongous trails and lines of flaring black powder spreading over immense surfaces and scenes. These ventures have been normally site-particular and were performed in different nations and areas over the world. As the name, "Task to Extend the Great Wall of China by 10,000 Meters: Project for Extraterrestrials No. 10" (1993) shows, the venture included the utilization of 6 miles in length wire of black powder, which was extended a far distance the western end of the Great Wall whence the Gobi Desert began. After ignition of the wire it smoldered for 15 minutes, which made an example similar to a winged serpent, which is the image of antiquated legendary and magnificent legacy of China. The motivation behind the title of the arrangement's roots from Cai's faith in the production of excellence and euphoria with the assistance of a natural clash, for example, the "material fuel" to pick up a higher point of view through the festival of unadulterated vitality.
Explosive works
Cai needed to break the repetitiveness of the social atmosphere, and in addition the conventional aesthetic practices in China, which were more controlled and smothered articulations of craftsmanship, this he accomplished with the assistance of black powder to create suddenness. Amid his stay in Japan from 1986 to 1995, Cai broadly tested the properties of black powder in his fine arts, which in the end prepared him to investigate monstrous explosives and the origin of the "blast occasions". As a consequence of an imaginative trade between the United States and the Asian nations, advanced by a universal association called the Asian Cultural Council situated in New York, Cai moved to New York in 1995.