A Brief of My Practice – the first page of my individual layout
My work, encircling the notion of the mnemonic, reveals an interest in the elements of domestic; draws on various media including Photography, video and performance. Much of my photographs are relevant to intimacy and sexuality, depicting a miniature of Chinese youth culture. Performance practice reflects my awareness of Photography as a medium in fine art. When I talk about the performance in my practice, I understand it as a sort of live sculpture and my body as an object. In my performative action with found objects, Photography evidences my art practice and the realism attributed to Photography is used as a mean of self-expression. The recent research is on the boundaries between photographing and sculpturing through theories of fine art through the fluidity and heterogeneity of Photography.
Taking around the Photography Work in Loss – paragraph 1 in the second part of three photographic work
Memory could be explicit and implicit for individuals; in the meantime, the collective memories are cultural and communicative. The liquidity and transition of memories interweave images and materials through Loss. The memory in the work mirrors friends’ intimate life and my nomadic state from deferent locations. Every residence I experience forms the intersection of my emotions with others. Portrayed faces swim between this liquid glue and peeled-off pieces. They are exposed and paused on the large-size inject prints; to see how the fragments and vestiges fluid on the surface, overlapping on the original image. Partial information and imageries are getting into eyes with subtle lighting.
Body Experimentation in Loss – paragraph 2 in the second part
The exuviating happens on this body, the residue of which follows the memory of the liquid material from wet to dry; from hidden to lucid. The defaced images dissolve in the water to integrate into the structure of skins. The flexible materials transfer the shape as a body without filled content; unlinking is on one side of the installation. The rough edge contacts with air in this space and presents the heigh being above the vision. The pain of memory is dissolving.
My Domestic Photographs Related to Memory – paragraph 3 in the second part
Domestic snaps carry both people and intangible qualities. The photographs portray the many close friends who draw into my life, memories of which archive as a photo book. These elected fragments in my photography capture who is close to me, and in a brief moment of time, become a part of my extended family. Face-to-face communicating with friends engages me in the understanding of polemical issues in a particular context of Chinese young people. Intimate, sexual and absurd elements irresistibly catch my eye when photographing and I draw from Judith Butler’s theory in understanding gender complexity and the limits of identification.
Poem – between the installation and The Desultory
They are repeated
They are fluid in this body
How much painfulness you undergo
Seeing who left
who is leaving
through remained imageries
How much you can see by that
To experience pain
but get released
which is the end of memories