A staggering person
Images occur directly and intensely through the sensory clashes between the body and its surroundings. I’m like a staggering person. I often carry out work in a variety of specific locations through ways of movement-images. Reality hovers over in the images, while the images superimpose upon reality, and then how does image emerge? How does reality emerge? I’m in perpetual anticipation: when the intuitive force acts with intensity, could it melt the two questions into a threshold that is full of tension?
Starting from the initial view-finder divide, the intuitive approach of view finding is constantly causing the displacement of the environment which I describe as “intuitive images.” The environment therefore are thrown into unpredictable movements in vertical depth that continuous accumulate. Such movements are a kind of movements of the depth-of-field resulted from the above-mentioned displacement of landscape from their original sites. In doing so, there rise the possibilities of observing the world in a more fluid and broader way. They are characterized by a merge of fiction and reality that edges on the threshold of their boundary. When images acquire materiality through events in reality, they also obtain some kind of transformative fictionality through intuitive displacement. This relationship of multi-layered images forms a new kind of existence among lives and objects that negates the opposition between fiction and reality. I attempt to explore the possibilities of such new existences in my different works, for example, in The Worldly Cage (2017), they are the existences of the luminous beams, bounced back to the ground from the bottom of the clouds after the light dispersing in the urban night sky; in Land of the Throat (2016), they are topological existences as the infrastructural constructions create heaving lands; in After Reality (2013), it is the existence of two seasons – winter and summer – experienced simultaneously; in Blue and Red (2014), it is the existence of earth-skin fostered during the process when the colorful LED lights of public square’s shines over and adhere to the ground; in Collector (2012), it is the transitional green existence when lands reserved for urban greenery are converted into commercial development.