This artworks is one of the new pieces of Yan Heng’s Absinthe seires. During his residency in Paris, France, he visited various art museums to see the masterpieces. Artists as Degas, Manet, Van Gogh and Picasso are all absinthe lovers. Degas and Picasso even have works titled Absinthe. The absinthe has also become an essential clue to connect these legendary figures. Yan Heng takes absinthe as an entry point, which is not only a salute to these artists but more of a reinterpretation. One can also detect the traces of his residency life in Paris. As a center for art and culture, Paris has always been a hub where many art masters convened; yet after the terrorist attack in 2006, Paris showed nothing but decadence. Paris Metro, as a unique public venue, not only preserved Art Nouveau design that the artist has been very obsessed with, but also formed a special atmosphere gathering people from different races and cultural backgrounds. The visual elements of Yan Heng's work begin here, where the masterpieces of Rodin and Dali appeared in the painting together with installation, readymade and mixed media to showcase the absurd mixture of classical art, legends of art deco masters and European pattern etc.
The artwork Absinthe · Pont Marie shows the interior of french-classicism style MUSÉE DE LA CHASSE ET DE LA NATURE. Yan Heng borrowed this scene and juxtaposed it with a blindfolded hawk to build a relatively gentle image. Yan Heng's works are mainly paintings and visual arts. The installation placed in front of the painting is constituted by ready-mades. All the elements used are carefully considered ——the monk shoes with ice-skating blades symbolizing the difficult situation of artists; the color of the overalls echoing the painting behind; and the free-swinging knife wrapped in cloth and the fake Rolex watch hidden under a handkerchief representing the growth of a man… Yan Heng placed all these ready-mades in front of the painting, together completing the work.
《Absinthe · Pont Marie》中的展现是法国的狩猎博物馆，房间里的格局陈设都是法国古典式的，闫珩借用了这一场景，他将带眼罩的鹰隼等元素并置在一起，形成了相对温和的画面。闫珩的作品是以绘画、视觉艺术为主。作品前面还有一个由现成品构成的装置，使用到的元素都是经过一定的考量：带冰刀的鞋象征艺术家“如履薄冰”的现状；背带裤的配色与画面平衡且呼应；一把被布料包着甩刀以及手绢下面藏着的假劳力士手表，又代表了男人的成长历程。艺术家将这些现成品放置在画面前方，和画面一起共同完成这件作品。