The artist has chosen to interpret the Horse of Love by referencing gilded decors found in old buildings and using contemporary craftwork techniques of great precision to create a sculpture that dwells between the states of dream and reality. These traditional metalwork patterns used are inspired by elements found in old chapels or houses, such as decorative windows, metallic embellishments on keyholes, or connecting and twisting fences. Consciously deconstructed and rearranged, the hollow-engraved and overlapping stainless steel flowers and spatial concepts crisscrossed with elusion and tangibility have come to form a fantasy beast with spreading wings. It comes from memories and imaginations for a beautiful future, as it leaps through layers of anticipation and hops through reality reaching people’s dreams.
The concept behind the artwork, Horus-The Fatal Gryphon with Phoenix Tail, is derived from the artist’s experience in 2012 in the U.S. for research and exchange purposes. Sculptures or decorative symbols of eagles are commonly found in official institutions or public buildings in the U.S., with the head of the eagle a symbol of power found in many different civilizations, including Persian, Egyptian, and even the Roman Empire. This symbolic icon has continued to be used in contemporary society in different ways. Furthermore, while in New York, the artist visited many museums and conducted research on the museums’ collections of artifacts and artworks from different parts of the world, where he compared their decorative and symbolic features and kept records and sketches of them.
Continuing with the artist’s extended focus and fondness for mythical creatures, Horus brings together the head of an eagle, body of a lion, tail of a phoenix, and wings of a Pegasus, and is named after an ancient Egyptian eagle head. Compared with his former animal-shaped artworks, this piece shows the integration of more richly diverse totems and symbols. It is a reconstruction based on the concept of animism, with this mythical creature a result of multiple deconstruction and reconstruction of images and symbols. The seemingly spontaneous elements are, however, a precise expression of the artist’s unique belief of aestheticism and a reflection on Western tradition of dichotomy.