Pluralistic And Interactive: Study On The Methods Of The Public Art Creation By Zhejiang Pavilion

No doubt that, in a certain sense, scientific research, definitelyincluding the artistic research, is to extend new chapters out of the breadth,depth and accuracy in the lineage of knowledge. As E.H. Gombrich says:“History is much like Swiss cheese with manyholes.” Therefore, thisdissertation attempts to further study, with a courage of “whoever ignoranthas nothing to fear”, the creation of the Zhejiang Pavilion in the2010Shanghai World Expo witnessed recently, in our background of the public artstudy, to fill in some blankets.“A sand stands for a world, and a flowera paradise.” The Zhejiang Pavilion, as a successful case embodying the spiritof the public art practice in the moment, must be involved with many successfulmethods and laws of the public art creation, as well as its peculiarity anduniqueness. My basic and original goal of this dissertation is to set it asa credible and reliable example of the creation of public art, seriouslystudied, of the21st century and even in the future to provide historicalreference and experience for the development of public art in China, and tocreate, based on my own experience during many years of public art practice,a set of methodology for the future generations with the determinations andpursuits of the public art to refer to.The most important of the points this dissertation focuses on is the studyon the creation of Zhejiang Pavilion. The process and media of the publicartistic creation, speaking from a certain extent, determine the finalappearance of the works of public art. It is of great importance to unveilthe mystery of the creation of public art, feel the psychological feelingsduring the public artistic creation, and to analyze the mechanism generatingthe public art and the means of the cultural presentation and so forth.This thesis aims to reveal the methodology of the creation of the ZhejiangPavilion as a work of Public Art to the fullest measure. Hence, here itexplores elaborately and carefully the creative processes and methods of the creation of public art, combined with the multi-relationships between thecreation of public art, the local culture, public space and visualcharacteristics of several layers of relationship, from the chapter onBroaden the Eyes and Dynamic Thinking in the conceptual stage to The VariableProcesses of Opening and Closing, to Abstract Refinement to Deconstructionand the Performance of the Mutation, to the Extraction of Common-uniqueElements, to the Grasp of Multiple interactive features, to the Explorationof the Artistic Use of Modern Technology. And also, from another angle throughthe two chapters on the Zhejiang Pavilion and its creators and the ZhejiangPavilion and the public, it interprets the cause of the generation of themethods of the Public Art as well as its executive effects. Surely, in orderto enrich the structural support of the thesis, this article also enumeratesmany new contemporary works in the public art at home and abroad. Theconclusion centers on exploring the innovative point and the value of thecreation of the Zhejiang Pavilion, as well as the possibility of Public Art,set in the background of the development of the Chinese public art and theera of new technologies.This thesis is a trigger to shift the study on the public art, from thestatic to the dynamic of the creative process; to turn the eyes to the creativemajor process; to the interpretation of the themes, the concepts, the creativeand the production; to the generative discovery of the accumulation of theemotional experience and the geographical and cultural survival; to the fluidprocess of the creation of public art combined with the public space, whichperhaps is a venturing attempt to open up new areas of Process Aestheticsof the public art. This is the theoretical significance of the study on thecreation of the Zhejiang Pavilion.In addition of this, it strives to structure a system of the methodologyof the public art creation under the existing concept and researchcircumstances, and especially advocates a pursuit of the diversified andinteractive practice for Public Art suitable to the new media age, which isable to become a helper for the pure latter generations keeping on beingdevoted to the creation of Public Art “to reach the upper and remove the ladder”, and for them to get a farther view from a higher position in thepractice, where the practical significance of this thesis resides.