Mandarin Blossom of the South Ⅰ & Ⅱ

2024; Stainless steel, spray chrome, paper mache, hand coloring, bronze; 59.45 × 54.09 × 7.87 in, 59.6 × 55.5 × 8.7 in; 3+1AP

Jin has always been fascinated by the texture of mandarin peel and the act of peeling it with one’s hands. It’s not just a simple fruit skin but an organic substance with a rich structure. It has a soft inner structure wrapped in a bright, smooth outer skin, and the contrast between the two is striking: the outer skin protects the flesh inside, but once separated from the whole, the mandarin peel becomes lifeless and is easily discarded. In these two works, the surface of the mandarin peel is covered in delicate patterns, which resemble both the veins of flowers and scars from burns. These patterns are carefully designed—reassembled to follow the maps of countries in the Global South, including Asia, Africa, Latin America, etc. These nations are still regarded as developing countries, often overlooked on the global stage. The flower-like veins, or scars on the mandarin peel, echo these countries’ positions within the world system—abstract and scarred. These two works resonate with The Globe, activating a discussion about the Earth, regional relationships, and the interplay between the natural and the artificial by altering our familiar visual perceptions.