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Can you do a tarot card reading for my kin Ren from BTD?

Past Lives Spread

1st: Your Past Life As A Whole

SIX OF WANDS REVERSED - This card is about personal definition of success and a fall from grace. You may have continuously sought the approval of others around you for validation, which caused you to lack any personal power or belief in yourself. This lack of belief may have caused you to feel like your efforts werent recognized enough, and are now suffering because of it. Your confidence and self worth may have taken a hit.

2nd: Themes Of Major Challenges

THE EMPRESS - This card is about nurturing. This card suggests you probably felt a strong need to care for or maybe even fix others or situations around you. This likely caused you to neglect your own needs in favor of making sure someone else’s needs with satisfied.

3rd: How You Handled Them and Their Affect On You

THE MAGICIAN - This card is about resourcefulness, power, and inspired action. This card suggests that you were able to bring a plan to fruition as you saw an opportunity arose that allowed you to take the reins. You had the upper hand and felt that the power was yours and sought to make a future you wanted.

4th: Lessons Learned During This Life

KNIGHT OF WANDS - This card is about inspired action, impulsiveness, and adventure. You were able to gain the energy you needed to push forward and pursue the ideas and goals you had previously set in stone. You learned that although the path may be dangerous, it could be worth it as long as you try, which may come off as impulsive. You learned to experience yourself in a new and more positive way.

5th: The Impact On Your Current Life

QUEEN OF CUPS - This card is about caring, emotional stability, and intuitive. You are now able to properly balance caring for others and caring for yourself, nurturing both persons at the same time. Your intuition is also higher and more in tune with the energies around you, and you often have the right answers. More people may confide in you because of this, but you now have the ability to keep yourself in the right mindset to help these people without ignoring yourself.

I hope this makes sense! - Mod 404

#mod 404 #tarot #tarot reading #anonymous #btd #btd kin #fiction kin #fictionkin #boyfriend to death #boyfriend to death kin #boyfriend to death 2 #boyfriend to death 2 kin #BTD2 #btd2 kin #ren han #ren hana kin #video game #game

Classy lads by Oliver Cargill

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Ren Han, Mirror no.20, 2015, C-Space

#Ren Han

REN HAN FA7DE98A-C617-463D-8216-B3D9909BB53B, graphite and emulsion paint on canvas, 89.5x150cm, 2014

#REN HAN

Ren Han: Emulating Nature 任瀚：模仿自然

Ren Han (b. 1984, Tianjin) started practicing art from a very young age, graduated from the oil painting department of the Fine Art Academy of Tianjin in 2006,but it wasn’t until he had experimented with various mediums such as video and performance during his time in France that he realized after all it was the most basic tool that was a particularly suitable medium for himself, and that is the pencil. Humble, straightforward, semi-translucent with a metallic shine, the pencil is one of the cheapest and most accessible artistic tools today. Pencil drawings are also easy to adjust, erase, supplant and if necessary – discard. It’s a fluid means of anticipation, often made prior to translation into a different form such as painting and sculpture, though for Ren, it is the simplicity and the unique characteristics of graphite that he finds comfort and inspiration in his choice of tool.

In the long history of drawing as a representational art, imagination has been disregarded of its importance for the medium, though in the contemporary context, drawing serves not only as a mode of thought, but also as an abstract visual means to probe the infinite possibilities of form – it is capable of conjuring not only what is seen in the world, but also to a certain extend what is seen in the mind, thus providing us with the freedom of excessive hypothesis.

Ren has described in his own account about his relationship with the act of pencil drawing as something comparable to a kind of spiritual practice. He demonstrates in his delicate but powerful drawings, a kind of meditative quality that is manifested during its making process where imagination and introspective efforts are required. His execution is always rational but never contrived, his style controlled, yet not confined. The in-between space that is “sculpted” with his painterly application of graphite embodies a theatrical presence, which is created by the strong contrast between light and dark, especially in the presence of light, where depth is conveyed by the subtle interchanges of textures. The overlaying strokes of graphite present a sense of volume on the matte black, or white backgrounds in which they sit, whereby creating the illusion of mass. Richard Serra wrote in Notes on Drawing that, “Black is a property, not a quality. In terms of weight, black is heavier, creates a larger volume, holds itself in a more compressed field. It is comparable to forging.” (Serra, Notes on Drawing, Rizzoli, New York, 1987) In Ren’s drawings, the magnetic density of the graphite, whether it sits on white as with the Waterscapes series or on black with the Snow Mountain series, it is able to draw its audience into the fragments that resemble and suggest actual places and scenes taken from our physical reality. This engagement is reciprocal, as with the artist himself with the images he finds online, where the images act as a prompt that is then rendered in the mind of the spectator, thereby giving it meaning and relevance in the physical world where it takes its cue.

Snow mountains and waterscapes are the two main subjects in Ren’s recent practice. They embody a certain quietness that is out of this world. We rarely come in contact with them in our daily lives, but rather, imitations of such. We have admired the replicated images of these sceneries far more than we have been in contact with nature directly. This artificiality is particularly evident in the later works of the Snow Mountain series, such as 1f5f528610608323a2b51599c5a9b789a7889a6136632-eRswwR and FA7DE98A-C617-463D-8216-B3D9909BB53B, where selective elements of the found images are crafted onto a black canvas, completely omitting all manmade elements, leaving silhouettes of the “unnatural” traces behind, while at times there are also clear signs of artificiality, such as the pixilation of the found images. Ren also kept the original file names of the found images as the title of the relative works, which further emphasizes the overlapping of the juxtaposing worlds.

As described in an interview, Ren references actual places in these works, places depicted in images that he finds online, “but the actual subject depicted in these works are not the actual places in our physical world, but rather, the visual information taken from computer-processed photographs taken by others.” This passivity and imitative quality in the found images are also elements that are conveyed in his own representations of the real world. These fragments of nature, rendered by the selective process and manipulation of the artist himself after that of the producers of the found images, are also constantly being interpreted by the spectators thereafter. In other words, the drawings of Ren are a continuation of the repeated editing of elements taken straight from our physical world, which prompts a different kind of imaginative reality – another emulation of nature.

The two-dimensionality of drawings connotes their limited means in relation to the physical world, as the world that a drawing depicts is non-tactile and therefore only accessible through the imagination and interpretation of the spectator. We can represent the visual complexities of what we see to a certain extend, and only if we agree to surrender to the suspension of disbelief before the receding depths of what we have in front of us. On the other hand, the materiality of volumetric art promotes the notion that simulation is in favour of actual existence, and as a result, sculpture is seen to be a form that we could engage on our own terms, rather than suggesting a world that, however seemingly real it may be, will always be understood to be imagined.

This relationship between drawing and sculptures is an important part of Ren’s research, and this aspect of his practice is heavily influenced by his mentors in France, one of which was Noel Dolla, a member of the radical French art movement – Supports/Surfaces between 1960s and 1970s, while the other was a student of Dolla’s – Pascal Pinaud, who has continued exploring painting as a deconstruction of physical painterly elements such as canvas, frame etc. in another words, to investigate painting as sculptural objects.

Emulating Nature is the most prominent presentation of Ren’s Snow Mountains and Waterscapes series up to this day. The audience enters a narrowed room, where the Snow Mountain series is delicately hanged onto the matte black walls. In this conflicted space the drawings interact with one another, as well as with the surrounding spaces, through their relative and conflicting elements. Along the end of the right wall around the corner, we would find the entrance into a self-contained white space. In this smaller space, we would find the Waterscape series is presented on the walls in a simpler and more formal manner. The metallic black lines emulating the movement of water are in immense contrast with the whiteness of their background, frames and the walls, immediately situating the spectator in a hypothesis as though looking at a scenery from afar through a window, which correlates with the predicament in which our interaction with nature itself is made increasingly distant through the invisible barriers of modern civilization, as depicted in the Snow Mountain series.

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任瀚（1984，天津）从小学习绘画，2006年在天津美院油画系毕业。在他留学法国期间对影像、行为等媒介的尝试后，发现了最适合自己的媒介就是最简单和基本的绘画工具——铅笔。低调、直接、半透明，同时带有一种金属的亮泽，铅笔是当下最便宜及最容易买到的工具之一，它能被轻易地调整、擦除、取代，在没需要的时候亦能被废置。它是一种流动的预知载体，一般会被转换成另一种更“正式”的形式，如绘画、雕塑等。对于任瀚来说，铅笔的朴素和石墨的独特质感是最为吸引他的。

在绘画普遍作为一种具象性艺术的悠久历史中，想像力对这个媒介的重要性一直被忽略，而在当代艺术的语境里，绘画不只是一种思维的模式，也是一种能够探测无限可能性的抽象视觉媒介。绘画既能够让我们眼见的事物实体化，亦能够在某一种程度上表现我们所想象的，因此给予了我们无限假设的自由。

任瀚曾经自述他与绘画有一种近乎修行的关系。在他柔和而有冲击力的画面中，反映了一种在绘制时再想像和反省的过程中的沉思性。他的画一贯理智，笔触精准而自然。他以画笔的笔触用石墨绘制的空间由于深浅光影之间的反差及质感的细微变化，体现了一种戏剧性的存在感。在哑光黑色或白色背景上重叠的石墨线条形成了一种体量，同时营造了一种重量的假象。理查德•塞拉在《关于绘画的笔记》(Notes On Drawing) 中写道：“黑色是一种性质，而不是一种特征。黑色更为沉重，能够创造更大的体量，将自己置于一个更高密度的平面上。它犹如锻造。”在任瀚的绘画中石墨金属性的密度，无论是在《水景系列》中白色的背景上，或是在《雪山系列》中黑色的背景上，都能够引领观众进入画中所隐喻我们物质世界中存在的一些碎片。这种相互关系就如艺术家自身与他在网上找到的图片，观看者的想象给予了图像在世界中的意义和关联性。

雪山和水景是任瀚近期画作中两个主要的题材。它们体现了一种远离尘世的安静。在我们日常的生活中已经罕有接触这些自然风景。我们所接触的“自然”总有某种人造因素，我们也往往会接触的这些景色的复制品多于自然本身。这种人造性质在《雪山系列》的后期画作中尤其突显，比如1f5f528610608323a2b51599c5a9b789a7889a6136632-eRswwR 和 FA7DE98A-C617-463D-8216-B3D9909BB53B，在这些画作中呈现的是从网上找到的图片中勾勒出的一些细节，完全忽略了图片中的人造的元素，隐晦地留下了这些“非自然”的痕迹和轮廓。然而，人造的痕迹在这些后期的画作中显而可见，如现成照片中的像素点。任瀚还保留了网络图像的文档名称作为作品的名称，进一步强调了反差世界的重叠。

在一次访谈中解析他在画中描绘的景色，更正确的说是在网上找来的这些景色的图片的时候，任瀚说，“作品中真正表现的主体并非现实世界中的地方，而是被他人电脑处理过后的图片中的视觉信息”，这种被动和模仿的性质也是在他对这些图片的重新表现中体现的元素之一。这些大自然的碎片经过了图片制作人的处理后，被艺术家重新筛选、描绘，随后也被观看者不断地解读、定义，换句话说，任瀚的这两个系列的绘画作品是一个在不断被编辑而转换的物质世界的延续，它打开了另一个想象的现实——一个仿真的自然。

画的二维性意味着它与物质世界之间有限的相关性。画面中的世界是不能触知的，它只能通过观看者的想象和解读而被理解。只要我们能够以暂时搁置怀疑的态度去观看眼前的事物，我们就能在一定的程度上感受视觉上的复杂性。在另一方面，有体量的作品的物质性指向模拟与存在的相关性，从而雕塑这个媒介也显得更容易与我们达成直接的关联性，而非一个模仿真实的想象之物。

绘画与雕塑的关系是任瀚再作品中探讨的主要题材之一。他艺术实践的这一方面亦受到了他在法国的两位导师的影响。其中一位是Noel Dolla，他是在1960年代至1970年代法国一个艺术运动——Supports/Surfaces 的成员之一和Pascal Pinaud，曾是Dolla的学生，也对这个运动有所继承，强调将绘画的组成元素和载体，如画布、画框等以物理的方式重新审视，也就是用雕塑的方式看待绘画。

《模仿自然》是目前为止《雪山系列》和《水景系列》最为完整的体现。首先观众会进入一个较狭窄的展厅，黑色的墙上有被破坏过的痕迹。《雪山系列》中的黑色背景融入了展厅的墙面。画面与画面之间及它们与墙面和空间之间的相互关系形成了一种矛盾而协调的空间。通往沿着右面的墙拐弯的入口，《水景系列》在这个白色的独立空间中的墙上以更为简洁、正式的形式呈现着。画面上模拟水流动态的石墨线条与其白色的背景、画框及墙面形成了很大的对比，将观看者放置于一个犹如从远处观看景色的设想，同时表现了在《雪山系列》中隐喻，我们与大自然之间的互动因近代文明的介入而变得陌生的困境。

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