From Shi Qing’s early interest in the subconscious, as manifest in legends and fairytales, he has developed a symbolic and ritualistic style in order to resist what he sees as the ‘vulgarisation of sociological questions’ and ‘the poverty of experience within current conceptual art practice’. Shi Qing increasingly turns towards experimentation as the means of production, as well as research into the issues surrounding the creation of social spaces. He has developed a modus operandi whereby each exhibition is treated as a site-specific project, determined by a new set of conditions. This approach allows the artist to resist any political and aesthetic dictates that he feels are frequently imposed by a contemporary globalized art system.
Shi Qing’s work is created within a framework which enables him to identify a series of interconnected subjects, ranging from Socialist architecture and environments, geology, botany, weather patterns to art and its communities. The work often brings together pre-fabricated objects such as wooden cubes, cardboard boxes, Styrofoam, plaster, metal structures and potted plants. These objects do not function as vessels for particular material aesthetics, but, at most, serving as the impetus for ideas. The objects brought together in this exhibition reveal both the constant shifts in Shi Qing’s areas of interest and also the works unifying methodology.
石青的藝術實踐從「後感性」展覽系列開始，最初他從對神話、想像等集體無意識的 興趣中，發展出了一種強烈的象徵性與儀式感的藝術風格，以抵抗當時觀念藝術對社會學的庸俗化與經驗的貧乏。隨後，他逐漸轉向了對藝術生產機制的實驗以及社 會空間生產問題的研究，並形成了一種項目性、在地化的工作方式，把每一次展覽當成一次全新條件下的實踐，以抵抗日益全球化的藝術系統所經常表現出的不加反 思的政治正確與美學正確。
他的工作表現了一種模態感與框架性，這使得他能夠在諸如社會主義的建築與家具、地質構造與建築結構、植物生態與藝 術制度，及氣候預報與藝術社區等不同的領域之間找到一系列問題意識與知識話語上的榫接點。在他一系列展覽的製成品中，木方、紙箱、泡沫、石膏、鋼架與盆栽 這些預製品被普遍使用，它們並不試圖提供某種材料美學，而更多只是擔負著思想道具的功能。