处于高速运转的现代化社会条件下，事物的多面性使人难于真正的认识事物，而更易于停留于可直接获取之表象，这使我们不得去思考有关对事物的认知问题。洪浩的“负部”系列正在试图以新的角度使我们重新认识事物。这些扫描后进行重新组合的物体底部，模糊了可供辨认的物体特征属性，使一种日常被忽略的角度呈现出来。这种有关物体“负部”的集合使我们顿时对熟识的事物产生一种陌生的怀疑情绪。在这系列作品中，个体符号特征的弱化与简单形制的趋同使v得物品的功能属性在这个“负部”集合里不断的丧失，取而代之的是以物品基本形制作为元素所构成的新整体图像，这个像具有极强的形式感。面对这一新的集成组合，当我们将熟识的日常事物与这些构成画面的形制元素进行思维联系时，之间却奇妙的产生了一种距离，这一距离引发的是关于“认知”这一个行为再度思考—有关我们惯于笃定的事物是否真正被认识。这是一次有关认知、知觉活动的思辨性思考。洪浩通过作品试图做的也并非仅仅是一种有关事物新角度的呈现，而重要的是在于一种引出对于认知方式的重建问题。
这次展出的“负部”系列是“我的东西”系列的思辨性延展，洪浩通过“我的东西”系列将消费主义催生下个体存在与大量日常消费品的关系问题引入到当代艺术的探讨中来，而“负部”系列则是对这一个问题的纵向深入。我们发现在高速快捷的消费模式下，大量的物品涌入人们的日常生活之中，这种“量”的涌入使得深入认知方式变得难于进行，易于被忽略。高速的运行模式，使认知变得单维而模式化。而回归到物品本身，经过洪浩的再度归类与重组，所呈现的是日常物品不断的趋同、模式化现象。“负部”的呈现本身是对于物体的再度抽象，抽象过后的集合，使我们发现在消费主义观念的催生下, 大量的日常消费品已经逐渐的消解了文化辨认的可能性。这些趋同的物品消解了地域性特征、占有物品人群的文化类型也难以辨认，区别仅仅限定于颜色、形制等形式问题上。相较于信息不发达的古代文明时期里，各地域的封闭式发展使文化类型产生极强的风格性，而对于现代社会而言，信息的高速流通以及社会化生产节约成本的需要，使社会朝向均质化的方向不断演化，这使文化丧失了自身地域性活力，屈服于消费社会批量生产模式的需要。这使科学技术发展迅捷的物质文明社会与逐渐丧失活力的精神文明之间产生不平衡现象，洪浩的作品所提出的也正在在这种问题下，对个体认知方式的思考及重建与群体存在方式的质疑问题都应被更加强调出来。
In the fast developing modern society, it has become hard for us to know things as they have turned out to have many sides, and our perceptions rely more on the straightforward appearance of things. This made us to think about how we know things. Hong Hao’s “Bottom” series are trying to offer us a fresh perspective. Obtained through scanning, the images of the bottoms of various objects have blurred the originally identifiable property of these things, and present a view that is often neglected in everyday life. The collections of the “bottoms” lead us to suspicions about things that are familiar to us in everyday life. In this series, the reduction of the characteristics of each individual and the homogeneity of forms have gradually eliminated the property of function in these objects and supplied new images based on the highly formalized basic forms of the things. Then strange distance is created between us and these familiar daily objects, and we’ll have to think twice about our “perceptions”—do we really know the things that we have taken for granted? It has become a reflection on perception and knowledge. Hong Hao does not only offer us a new view to see things, but more importantly, he tries to re-construct our knowledge about perception.
The “Bottom” series are the speculative extension of Hong Hao’s “My Things” series, in which he has brought his reflections on the relationship between individual existence and the multitude of consuming goods in the consumer society to contemporary art practice. The “Bottom” series carry on the theme in depth. Today, consumption has become more rapid and convenient, and everyday life has been overwhelmed by large quantities of products. In this situation, in-depth cognition has become harder, and the process of knowing things simplified and stereotyped. All the things appearing in Hong Hao’s collected images, categorized and re-arranged by the artist, show a tendency of homogeneity. We found that the multitude of everyday products have gradually made cultural identification impossible. There are neither geographic nor cultural traits on these homogenized consumer products, and the differences lies only with the shapes and the colors. In the less informative ages of man’s cultural history, cultures of different areas of the world formed their individual characteristics in a relatively isolated process of development, while in modern times, the expressive communication of information and the demand of reducing the production cost have increasingly homogenized the cultures. They have lost their own originality and submitted to the demand of mass production in consumer society. The ever-accelerating material progress has made a contrast to the inert culture development. With all these problems, Hong Hao presents through his “Bottom” series his reflection on individual perception of things and his challenge to the way of collective existence.
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