Like a leaf that falls on a rivulet, the ripple diffuses and does not leave any traces in the time and space continuum. My work questions our very existence and relationships within the continuum.
I create images with filmic atmosphere. Instead of placing emphasis on the aesthetic of the paintings, I am more concerned about the static and subtle feelings that the work resonates with our surrounding environment.
The conversation with the yesterday (2009~2011)
link 1 link 2
I start my practice by addressing subject through ruins and heritage spots, within the architecture and rigid form of these construction, there lies the wisdom of human modernization and civilization. I am very interested in questioning and reflecting the possibilities and existence of these site, nonetheless they seem awkward in nowadays cities developed with modern architecture. If they cannot be commemorate like the Great Pyramids and the Angkor Wat, what are the motives and destiny (whereabouts, direction, future) in the future developing plan without them?
After a civilization had vanish, these beautifully created stone, sand and wood will tell the stories of a glorious civilization in the history. The way we and our society treated them reflects the way we treated our own trace, culture, status and legacy, it metaphors our culture and in the same time it shows the expending of our wealthiness.
Being built and abandoned, the ruins cannot success to become the representative of our city architecture, but after being conquered by weeds and plants, the deadly skeleton become lively again. It shows a dialogue between human activity and mother nature, in these site inspire me to question myself: as a spark in the eternity, what are we?
Depicting the beauty of these stone skeleton, I hope this series of work will raise the awareness of us to these phenomenon (vanishing heritage and abandoned building site), and also by creating these works through appointing ruins and heritage spots, the work also question the existence and possibilities of myself, being one of the million artists.
A cinematic and imaginary scene with the absence of the protagonist (2011~2012)
link 1
The uncertainty of status and mind before going abroad derives me to make this series of drawing. I am fascinated by the picturesque scene from screenshots of some movies like 蔡明亮 Chai Ming Liang and David Lynch, it is a space that being frozen in the eternity of time and space. I started my cinematic drawing trying to create an image with sense of flowing time. The scenery is a stage created for the audience, a space with narrative connotation.
The paper is being covered and drawn with pitch black charcoal, instead of creating lightness, these drawing are creating darkness, a light bulb revealing clues of the scene, but yet the atmosphere is murk. The imaginary landscape are either a bench, an old truck, a small cottage or a corner of a wall. A pitch black background elongate until the horizon metaphored our consciousness. A scene of a stage or a drama without protagonist, the set is playing a monologue itself, the scene seems to fade out to black when the bulb burnt away anytime.
Revealing the trepidation and hesitation of mental state, this series of work also investigate the anxiety about identity, the relationship between consious and subconscious. How do we dealt with uncertain vision under the realistic world of mischieving.
the status of living and the agony of surviving （2013~）
link 1
Drawing becomes ‘archaic’ in the age of mechanical reproduction, yet this archaism makes contact with the tactility of the most up to date mediums.
- Michael Newman, ‘The Marks, Traces, and Gestures of Drawing’
The set up of an interior space reveals the characteristic of a person; the brand, arrangement, tidiness, selection etc, each of the item work as an individual symbolism, when they group together, they reflect the complicate and complex situation and status of the person.
Placing ourselves in this world, we are part of the society and system, each of the individual have their own function and possibilities, and we group together to form a culture and civilization. Instead of questioning the group, these narrative drawing also question the existentialism of the individual object by investigating the interior form by the conversation of the object and the environment.
Instead of concerning about revealing “beauty” from my work, I concern more about the status and relationship of my subject matter by looking into everyday object and matters. From this series of work, the discussion starts from the object I depicted. Conveying my visual language in a more subtle and static way deliberately, it create depth to the connotation and artistic conception of the work.
