Ruohan Wang: 到处玩具 Toys Everywhere

Firstly, the term Pan-Twodimensionality is to be clarified. „Pan-Twodimensionality“ is the description of a group of humans usually made up of young people from different cultural societies. Due to the heterogeneous consumer habits of its members, which are influenced and shaped by the respective cultural understanding of the various societies, this group establishes a new trend for the consumer perception. To this new trend, the border between different dimensionalities is fluid; In parts, the border does not play any role anymore. Normally a two-dimensional form of presentation generates an impression of being shallow, simple, naive, designed for children, especially when one thinks about animation or comics. The new term „Pan-Twodimensionality“ lends the whole dimensional way of thinking a depth and flexibility that helps understand the importance of inclusiveness, integration and tolerance and helps understand how the young generation lets its new consumer perception be shaped by multiculturalism.

Today's cultures have become more heterogeneous and they will keep on becoming even more diverse. This noticeable cultural development matches the trend of globalisation towards progression. To visualise the multicultural actuality, the Chinese artist Ruohan Wang chose the technique of collage. According to her, everything can be made into a collage: differing knowledge, diverse cultures and various media. On the level of „Pan-Twodimensionality“, everything can be assembled. Due to this, the artist opts for a collage of traditional drawing and digital medium because this type of collage ranks among the most modern methods of collage art of all. A collage of two media is able to narrate the artist's inner world profoundly. This form of narration is both surrealistically virtual and tangibly true.

Generally, contemporary artists are already familiar with a combination of software and hardware for artistic design. The relationship between these elements is changing under the influence of the digitally and technologically driven progress. The usage of software has already taken over the main role in the creative process. A big advantage of using a software-directed creative process is that it requires substantially less resources than using hardware like paper and paint material. Figures and symbols performed by hardware lose their medial flexibility. Due to this the hardware method has gradually lost its previous dominant position in the creative process of modern times, although the importance of the materiality of hardware still exists because it still appears attractive to numerous artists and recipients. With the help of software, the act of painting becomes independent of hardware. The opportunity to create is therefore expanded in terms of time, space and method. In this modern creative process the artist is much more free to decide when and if he requires traditional painting tools for his work. Screen printing has long been one of the most well-known and popular creative methods. More and more art enthusiasts are collecting graphic prints created by this procedure. In this process, artists first print the graphic which was created with the help of computer programmes. Afterwards they refine the digital graphic through traditional painting using paint and brush. Through these two processing methods the graphic appears vivid and interesting. These two totally different methods of creating art possess similarity with the procedure of animation art.

„Paint“ has by cultural-historic origin been a medium in which the whole universe was integrated. The display of figures and symbols, which are nowadays digitalised through the use of computer programmes instead of being created through traditional ways of painting, just represents a change of method through which the art of painting finds a way to exist contemporarily. Evidently the artists therein discovered a way of visualising their artistic concept which conforms to the aesthetic taste of current time. Art still remains as art, it is original and internally free. However the artistic character of a certain zeitgeist is what modifies art. Through digital methods of creating the content of a painting can become more substantial and dynamic. The traditional understanding of art of having to construct a picture is being widely deconstructed through this dynamic character. In the eyes of artist Ruohan Wang, digital images can leave behind a profound impression on its recipients.

There are three elements closely associated with the creative process of an artistic idea. The technical professionalism of an artist, his sensitive awareness and careful reflection on the world and the aesthetics of randomness in his everyday life. The elements of creating are never identical, on the contrary they are very different from each other. Despite their difference all the elements represent the artist's attitude, insight and mental state in each creative period.

Painting is very private, very intimate in Ruohan Wang's approach. In her concept free thinking is carrier and base. Every one of her creations is individual. In her opinion, visualising her thoughts through the medium of painting is helping her making herself aware and see her own mental state. „Painting“ according to her is only a process after all, an opportunity, a medium to connect A and B and mediate between them. Through this process, emotions such as joy, the feeling of freedom, pain and struggling, etc. can be experienced by other people. To achieve this goal one does not necessarily have to use the method of painting, there are other comparably functioning ways to create. One should however find a medium or several media to discover oneself and create a map of one's own mental landscape. When someone has found the appropriate process, you can speak of creating art. According to Ruohan Wang, a painterly creation contains a function of conservation in addition to its connective impact. In other words the painted creation lets her look back on how the process of mental development of her intuitive inner world has proceeded.

In the eyes of the young generation, „visual art“ is freed from the acceptance and recognition of the viewer or the critics. If one strives for the acceptance and recognition of others, one will come under suspicion of flattery. If one has a goal of entering into communication with others before beginning painting, be it on an emotional or economic level, the creation will inevitably have a character of demanding pity or being didactic and prophesying. A work of art created in this situation doesn't have much in common with free art: the act of painting is being instrumentalised for the purpose of communication.

To Ruohan Wang, painting does not serve a communicative role. She carries out the act of painting and the artistic process solely for herself. Nevertheless she is readily willing to show us her freely created works of art. In doing so, she hopes to sensitise our own perception with the help of her artistic creations; that we can be inspired borderlessly by her careful awareness of her environment which she has sensitively and artistically brought before our eyes through the medium of graphic art.