Emblematic of society’s collective fascination with the epidemic of morbid obesity and our fixation on body shape, Mu Boyan’s controversial sculptures of bulging bodies articulate a view of fatness as ‘other’. It is clear from looking at these theatrical bodies that Boyan has directed his viewers to be voyeurs of his work, examining each ripple, swell and fold of his round figures. Strangely appealing and almost kitchly sweet, they are desexualised and strangely ambiguous despite their nakedness. Boyan’s bodies clamber, crouch and roll in groups of identical figures or as solitary individuals searching and climbing unaware that they are being watched. They have an heir of fun and novelty about them and are striking in their variety of scale from the ornamentally tiny to the uncomfortably large, but all must surely be a comment on a society which over consumes and indulges. These figures are in sharp contrast to a figure of a starved dog, skin and bone- perhaps representing the consequences of our damaging effect on other living things. Strangely generically described, his fat sculptures are not disgusting or grotesque but child-like and innocent. All seem inquisitive and harmless. They are nonaggressive victims of circumstance and tactile objects there to be examined and watched, exposed by their size rather than their nakedness
He is your friend, your partner, your defender, your dog. You are his life, his love, his leader. He will be yours, faithful and true, to the last beat of his heart. You owe it to him to be worthy of such devotion.
The only creatures that are evolved enough to convey pure love are dogs and infants.
For me it was important to show a film about a person that can be interpreted but not understood. The film is divided up into three sections. The first act is Charlie being on stage, in control, wanting to be perceived in a specific way, to see his life the way he wants it to be. In act two, he’s released and we begin to see Charlie in an alternate universe and his difficulties relating to reality. Not because he’s insane but because he lives in another world. Act 3, when he goes back to prison, we see the movie through the audience’s perception of him: is he crazy or is he not crazy? We see the transformation finalize itself at the end of the movie. In the final scene at the end of the film, when he mixes art and violence in the [prison] classroom. That is when the transformation has becomes complete. That’s why in a way, the movie has a happy ending because in the end he fulfills everything that he set out to achieve.