上海艺术家胡行易的作品从绘画延伸至三维材体和空间，继续探讨
当下社会的人性和个性，或已失去的人性和个性。部分作品包括上
百个来自社会不同层面的人的脸模，装载在各种常用的饭碗、快餐
盒中。还有绘制在大口径铁锅内模糊的人脸，以及许多关在鸟笼中
的活鸟啄食着用艺术家本人脸模制作的面包。

曾经的理想正越来越快地被现实消费着，生活被身份消耗着。身份
又被迫或自愿的快速切换、消除、重置。伴随而至的是诸多困扰—
现实对理想的消耗，物质对道德的消费，欲望对人性的消除。作品
中的脸被拷贝再拷贝，越来越失真，有如我们的身份也逐渐被迷失
和模糊。作品背后透出的是诗意美学与传达的社会人文内涵。艺术
家通过这系列作品去探讨、思考自我在社会群体中应充当怎样的角
色，以及承担此角色带来的责任。

展览中鸟笼里各种常见的鸟啄食艺术家本人脸模制成的面包，其象
征意义同样表露当下社会环境与文化下逐渐被软禁、消耗、甚至消
除的理想、个性和人性的无奈。在无奈中，人们只能转而全身心投
入到无谓的过度消费与消耗、被消费和被消耗的循环中。不同身份
的人迷失在各自理想的困境中。展览中出现的吃饭常用的碗和外送
饭盒，本身就具有丰富的文化内涵和特定的象征意义。碗里盛着的
脸，有的毫无表情、有的如失了魂、有的扭曲变形，有如现代化过
程中被特定社会环境和集体意识挤压出的畸形产物。

展览中带有表现主义色彩的绘画作品，以及富有约瑟夫.波伊斯般充
满哲理的装置作品，都呈现出了多重含义和思想张力，并激发着内
省与反思。

Shanghai artist Hu Xing Yi extends his work from paintings to three-
dimensional mediums and spaces. His work continues to discuss human
character and individuality, or the lack of them in the current social
environment. Some of the pieces in the exhibition include face casts of
people from all walks of life. These faces fill up all sorts of rice bowls
and take-out boxes. Other pieces are large casted iron woks with vaguely
painted faces inside, and birdcages with live birds pecking breads made
from the casts of artist's own face.

Dreams once we had are now being rapidly consumed by realities. And
our identities are being consumed by our living. Our identities are
voluntarily or involuntarily switched, eliminated or reconstituted. The
results are frustrations- conscience is consumed by materialism and
human characters are canceled by desires. In the work, faces have been
copied and reproduced again and again, and become distorted from
reality, as if our identities had been slowly lost and obscured. What this
work subliminally reveals is a poetic aesthetics and social and humanistic
connotation. Through his art, the artist explores and contemplates his
own being and his role in a social group, and the responsibilities such
a role bears.

In this exhibition, the live birds peck and eat the breads made from
the artist’s face casts. Its symbolism expresses the helplessness in the
current social and cultural environment where idealism, human nature
and individuality are being put under house arrest, consumed and
eliminated. In this helplessness, people can only immerse in the vicious
circle of senseless and excessive acts of being consuming and consumed.
People of different identities are lost in the entrapment of their own
dreams. The rice bowls and take-out boxes in the exhibition are also full
of cultural significance and specific symbolism. Some of the faces held inside the bowls and boxes are without expressions, some are soulless
and some are contorted and distorted, as if they were the malformed
creatures produced by the modernization of a specific social setting and
by the pressing from a collective consciousness.

The expressionistic paintings in the exhibition and as well as the
installation objects that remind the kind of philosophical significance
in Joseph Beuys’ works, present to us many layers of meanings and the
tension of thoughts, and at the same time spark introspection and
self-examination.