Collective Unconscious

by Zhuang Zirui

The concept of the "collective unconscious" was proposed by Swiss psychologist Carl Gustav Jung. He discussed this theory in various works, with the most significant discussion found in "The Structure and Dynamics of the Psyche". According to Jung, the collective unconscious is a psychic structure that all humans share, inherited from our ancestors. At the core of this theory is the concept of "archetype," which refers to universally existing, inheritable, and preset psychological forms or patterns in the unconscious (1). These archetypes have evolved and form the foundation of human myths, dreams, and recurring themes and images across different cultures.

The collective unconscious exists independently of individual experiences and is not acquired through them. Its contents have never entered consciousness; instead, they are passed down through generations via inheritance and genes. The concept of "archetype" is an essential aspect of the collective unconscious and has specific manifestations in psychology. In mythology, it is referred to as a "motif"(2). In primitive psychology, it aligns with Claude Levi-Strauss's concept of "collective representation"(3). In comparative religion, it is defined as an "imaginary category". Long ago, Adolf Bastian termed it "elementary" or "primitive thought"(4). These references validate Jung's concept of archetype, which is widely recognized in the humanities and has specific names in different domains.

Jung considered artists as the unconscious spokespersons of the spiritual essence of their time. The key emphasis here is on the "unconscious". A significant portion of the human psyche remains unconscious (5). The process of artistic creation involves the projection of implicit memory into reality, often without conscious awareness. Therefore, Jung believed that artists transcend prophets (6). The colors, shapes, postures, and compositions in their artwork originate from the depths of the subconscious. They are details recorded by human eyes thousands of years ago, reborn once again.

From this perspective, the artists featured in this exhibition possess unique artistic expressions. While their original intentions and themes may differ, visually they harmonize with one another. This symbiotic relationship creates a new balance within the artistic ecosystem, amplifying visual stimulation and unearthing the focal topics of each artist against the backdrop of their art pieces. The commonalities in the details of these artworks serve as the best illustration of the 'collective unconscious' theory.

The artist duo "Tamen" (pronounced as Ta-mun, meaning 'They' in Mandarin Chinese) was formed in 2003 by artists Lai Shengyu and Yang Xiaogang. Both artists graduated with master's degrees from the Printmaking Department of the Central Academy of Fine Arts (CAFA Beijing). Having traveled extensively, they use their collective painting to challenge contemporary society's obsession with individualism. Their series "The Same Room" gained popularity, receiving recognition both domestically and internationally. Subsequently, their works shifted towards outdoor natural scenery, showcasing Western painting techniques and thought-provoking compositions. 

"Tamen" has held numerous solo exhibitions in Beijing, New York, Seoul, and the Netherlands, and has participated in various art fairs, including the Cologne Art Fair, Beijing Art Fair, Dubai Art Fair, Hong Kong Art Fair, Shanghai Art Fair, and the New York Asian Contemporary Art Fair. The artist pair has been featured in multiple publications and has exhibited their works at prestigious art institutions such as the Museum of the Central Academy of Fine Arts (Beijing), Guangdong Museum of Art (Guangzhou), White Rabbit Contemporary Chinese Art Collection (Sydney), and Essl Museum (Vienna).

In their latest works, 'Tamen' continues to utilize the creative techniques that each excels in, placing intricately detailed and lifelike portraits in unfathomable scenarios. The scene showcases a polar glacier, with well-known artists from contemporary society arranged within it. 'They' have incorporated prominent works from artists such as Jeff Koons, KAWS, Antony Gormley, Yue Minjun, and Yayoi Kusama into this panorama, as if conducting a mysterious ritual. These tangible images act as ideational stamps, leaving a lasting impression on the viewers' minds. Allan Paivio once proposed the "dual-coding theory" in his work "Imagery and Verbal Processes," suggesting that humans use two distinct encoding systems simultaneously—one based on imagery and the other on language. This means that when we encounter a word and its associated image, we process it using both systems, which enhances memory. The repeated presentation of images exponentially deepens their memorability (7). The images in 'Tamen's work, paying homage to renowned artists, align fittingly with the logic of this theory. Typically, when the two artists create, they alternate like a relay race—one starts the painting and passes the baton to the other to continue. However, the final result is a harmonious piece, as if crafted by a single hand. It is this divine harmony that elevates the theory of the collective unconscious—distinct individuals, yet connected through imagery.

Ye Hongxing earned her Master's degree in printmaking from the Central Academy of Fine Arts in 1998. Over the years, she has participated in various residency programs, including a month-long artist program at the San Diego Rus Art Academy in the United States. Ye Hongxing has been recognized with multiple awards, such as the Cathay Dragon Rising Painter Award in 2006, which was judged by the director of the Cologne International Art Exhibition and the director of the Asian Art Museum. Her works are collected by prominent figures from different sectors of Chinese society. Additionally, Ye Hongxing has exhibited her artwork in galleries and museums worldwide, including China, Europe, and the United States. She has also taken part in international art events like the Paris Art Expo, London Art Expo, Hong Kong Central Art Expo, Art Stage Singapore, India Contemporary Art Expo (New Delhi), Art Basel Miami Beach, Shanghai Contemporary Art Expo, Beijing Contemporary Art Expo, Taipei International Art Expo, Cologne Art Expo, "SCOPE New York" Art Expo, "PULSE" Art Expo (New York), and the Asian Art Exhibition (Miami), among others.

Unlike the previous two-dimensional works showcased, Ye Hongxing's new pieces are presented in a three-dimensional form. Wooden boards form their skeletal structure, clay serves as their skin, and acrylics give them their texture. These sculptures resemble colorful birds spreading their wings to take flight. However, when considering the artist's career, the progression from two-dimensional to two-and-a-half-dimensional, and then to three-dimensional, is natural and sustainable. The essence of her creation is an extension and accumulation of past experiences. Within these works, one can once again observe the vibrant colors and grand compositions seen in her previous creations, as well as sense the artist's sincere efforts and dedication to transforming materials. As emphasized in Gestalt theory, viewers tend to focus on the entirety of an object rather than its individual parts (8). The same vibrant colors are portrayed in a different form here. The essence of the artwork creates a powerful visual impact and flourishes robustly. Colors become the lifeblood, and as images continuously inherit and evolve, they grow into a magnificent tree.

The artist Sabrina J was born in Reunion Island but raised in France. She studied Applied Arts in Paris and has lived in various cities including Paris, London, and Ho Chi Minh City. For the past nine years, she has been residing in Shanghai. Throughout her career, she has been deeply involved in art, interior design, product design, and fashion, holding the position of Creative Director. As her roles evolved, she collaborated with skilled craftsmen from different material domains, showing a keen interest in sourcing materials and artifacts that embody global cultural essence. She has consistently demonstrated a sensitivity to blend different styles, merge diverse materials and textures, and integrate cultural influences in her designs, fashion, and art. The combination of materials, textures, and cultural references has always been a fundamental part of her creative approach as both a designer and an artist.

Sabrina J's new pieces represent a fresh and daring exploration on her part. As an environmentalist, all her creative materials are recyclable. She has strived to find the perfect balance between aesthetics and environmental consciousness, which forms the foundation of her new works. These pieces, made from recyclable wool, draw inspiration from the wonders of nature. From a distance, they resemble pixelated representations of corals, ocean floors, open fields, and mountain ranges. Upon closer inspection, one realizes that they are composed of individual blocks of wool. The selected images for each piece capture the ingenious craftsmanship of nature, as nature itself is the greatest artist, and they also emanate the vitality bestowed by nature.

Leng Shu, a rising representative of avant-garde sculptors in China, holds multiple titles. He is a member of the China Urban Sculptor Association, the Jiangsu Province Artists Association, the Jiangsu Province Sculptors Association, the Jiangsu Province Young Artists Association, and the Jiangsu Province Young Fine Artists Association. Coming from a family deeply rooted in the world of sculpture, Leng Shu's father, the renowned Chinese sculptor Leng Tianming, was a pupil of the esteemed master of Chinese sculpture, Mr. Qian Shaowu. 

Since 2013, Leng Shu has seamlessly integrated China's rich cultural heritage with a pioneering artistic style after studying sculpture under his father's guidance. He has forged a unique language of contemporary Chinese sculptural style through exploration of various materials and breakthroughs in form.

Leng Shu's works often feature anthropomorphic figures, encouraging the audience to reflect on humanity's relationship with nature, the cosmos, and themselves. This mode of expression is inspired by psychologists John Dewey and George Herbert Mead, who framed the anthropomorphic effect. In "Mindwise: How We Understand What Others Think, Believe, Feel, and Want," Nicholas Epley delved deeply into why humans tend to project emotions onto entities that appear human-like and ascribe thoughts and feelings to them (9). Leng Shu's artworks are a reinterpretation of this theory. He uses various materials to construct human-like forms, blending Eastern and Western cultures together, and embellishes them with his understanding of the "distinct relationships between lives" portrayed in his works. This approach intensifies the audience's resonance with the artworks and makes the artist's profound contemplations more easily understood and accepted.

Clay Sinclair is an artist and engineer who was born in New Zealand and currently resides in London. His works have been featured in numerous international exhibitions and art fairs. With his diverse background, the artist draws unique creative inspiration.

Within his paintings, viewers can discover a multitude of visual cues. Although these pieces of information may appear unrelated at first glance, they are cleverly intertwined by the artist. In his creations, vibrant colors, exaggerated slogans, and figures in various postures all convey distinct messages to the audience. These messages are undoubtedly radical. However, this radicalism is not impulsive, but rather a deliberate arrangement and presentation.

During the early stages of his career, Clay took the initiative to present his works in London galleries. This approach seemed unconventional at the time, as the prevailing belief was that artists should be discovered by galleries, not the other way around. Nevertheless, his works managed to capture the attention of various galleries. This proactive approach marked a significant turning point in his professional journey.

The impetuosity of his actions is vividly portrayed in his canvases. He not only conveys information but also exudes a certain energy. Under the magnetic field crafted by the artist himself, the meanings within his images seem to become less significant. The images transform into a jolt, a symbol. It is this essence that has firmly established his presence in the international art market.

Zhang Lehua currently resides in Spain. Many art critics consider him the William Blake of post-modernism. This comparison is not only based on the recurring theme of adolescence maturing in their works, but also on their shared defiance against authority. While Blake was deeply immersed in theological literature and harbored intense disdain for the Established Church, Lehua holds dissident views against mainstream societal thoughts. Both artists' works reflect raw honesty, but Lehua's creations place a heavier emphasis on colloquial satirical elements. Zhang's works can be described as rustic and humorous, displaying a style that defies strict definition. This is particularly evident in his series of paintings modeled after propaganda posters. His satirical cartoon series emulates the tone and visual aesthetics of public service announcements, touching upon subjects like the sexual behaviors of Chinese teenagers and children from transnational marriages. These paintings bear a resemblance to the old bulletin boards and propaganda posters prevalent in China before the 1980s, but the content reflects contemporary socio-cultural issues. Zhang is a master of visual styles and strives to unveil raw societal truths through his unique style — and he has succeeded. His works have garnered attention and admiration from major galleries and collectors alike.

Images are more than just images. They evoke memories that accumulate in our collective consciousness. The expression of an image strikes directly into intuition, tearing apart the facade of rationality with ease. An image is a key, a key to unlocking ancestral memories, a key to opening the human mind. And, as stated at the beginning, artists, the true prophets, have unlocked humanity's latch. In this rapidly advancing information age, our lives have become saturated with various images. What we can do is slow down.

This statement suggests the importance of taking the time to truly engage with and understand the images we encounter. It encourages us to slow down and allow ourselves to connect with the deeper meaning and emotions that images can evoke. By listening to what the images convey, we can tap into the collective unconscious, a concept in psychology that refers to the shared experiences and symbolism that exist within the human psyche.

Shanghai October 2023

(1)   Carl Gustav Jung, The Structure and Dynamics of the Psyche (Routledge, 2015)

(2)   Carl Gustav Jung, Man and His Symbols (Dell; Reissue edition1968)

(3)   Claude Levi-Strauss, La Pensée sauvage (Pocket; Revised édition, 1962)

(4)   Adolf Bastian, Der Mensch in der Geschichte: Dritter Band (Salzwasser-Verlag, 2022)

(5)   Jung 1905/1957: 98

(6)   Tjeu van den Berk, Jung on Art: The Autonomy of the Creative Drive(Routledge, 2012), 6

(7)   Allan Paivio, Imagery and Verbal Processes (Psychology Press, 2017)

(8)   Kurt Koffka, Principles of Gestalt Psychology(Mimesis International, 2014)

(9)   Nicholas Epley, Mindwise: How We Understand What Others Think, Believe, Feel, and Want (Knopf, 2014)

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