A staggering person / 一个跌跌撞撞的人

A staggering person

https://www.youtube.com/watch?v=wpAO3zi-Ohg

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.

一个跌跌撞撞的人

影像在身体与周遭环境的感觉撞击中激烈而直接发生,我像一个跌跌撞撞的人,常常以这种运动影像的方式在不同的具体地点来展开工作。现实盘旋于影像之内,影像叠合于现实之中,影像如何发生?现实如何发生?我总是期待:直觉力强度作用,是否能将这两个问题重新媾合在一个充满紧迫感的临界点上。

从取景框的分切开始,这种直击影像就在不断引发直觉取景对于环境的错位,而被抛入一种连续积累且不可预知的纵深运动之中,正是景物从原地点分离错位而形成的景深运动,由此呈现出一种更为灵动而开阔的观察世界的可能性,一种临界于虚构与现实边缘的重新扭合。当影像既从现实发生中间获得了实在,同时也从错位直觉中获得某种虚构变形时,这种多层叠合的影像便开始跳出虚构与现实的对立而直接衍生出一群生存物形态。我尝试将这些可能性归纳为:它们是都市光线在空中扩散之后,再从云层底部折射回地面所形成的光线生存物(凡洞/2017),是基建活动形成土地起伏的地形生存物(咽喉之地/2016);它是冬夏两季同时并发的季节生存物(现实之后/2013);它是广场彩色光线黏合着地面而滋生出地表皮肤生存物(蓝与红/2014);它是绿化用地转化为商业用地的过渡性绿色生存物(寻找地热/2012)