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It also allows words to hang in the treetops.
2018Dimensions Variable
Made by Oil Painting, Plastic,Copper Pipes
There are obvious simple color matching, many rectangular structures, giving the installation a gravity-dispersive feeling overall, although the specofic characteristics of their interrelationships are still mysterious. It suggests an abstract sorting principle instead of referring to a specfic content. There is neither emptiness nor saturation, where within the audiences' conception, Confusion is as relevant as order and within the architecture common is as important as extraordinary. I hope it can be in open states, as these organic and transitional states have become self-contained systems with the ability to constantly absorb, digest, and update, in between growth and decay. In the balance of ideas and interconnections and ecological theme of sustainable development.
The work has been displaying a variety of "arrangement", the rectangle overlaps with more rectangles, leading to the dispersion of the visual center of gravity, it is evident that structural organizational functions resemble such that of coordination systems. The whole show looks like a linear narrative that spreads theatrical scenes which viewers need to reconnect and order them based on their individual preconception of a narrative. Allowing viewers to slow down enough to consider my points, unexpected pairings, a feeling of mystery that you cannot resolve like you are diving into the unknown and into the unconscious.
They look so friendly and non- invasive, and they are even more Zen- conscious in their layout. I wanted to combine anything with modern materials in a synchronized, symmetrical, repetitive, and the tailored manner in my installation. It becomes clear that my contamination is the acquired far away from the living environment that can be inferred by the observer but is never completely revealed to create their inherent strangeness, I conduct more metaphysical creation and transformation. When an item is placed in a speci c irreplaceable position, it can logically meet some philosophy points and achieve visual harmony. Whether these coordinates about rhythm and decisiveness is based on the sense of balance or more theoretical methodology. In my view, the video clips and the coordinates of the items are closely related work, both of which are looking for a clear pause. Finding the right relationship between space, time and matter, when all potential has almost been exhausted and have reached a good balance, till can determine the completion of this placement. Then the positional relationship between objects and space began a long and tranquil performance.
When cultural relics, living objects, and plants are all simultaneously displayed in a new space being constructed, adding one degree of separation between us and the representation of our reality, thus shortening the time distance between the past and the future. It reminds me of Plane of Immanence which builds upon the works of French philosopher Gilles Deleuze. Based on his conception, the collapse of space and time implies the same manifestation of multiple times, through the erasure of distance. Furthermore, the complete patterning of space-time causes the representation to lose its referral distance. The plane is the surface of the absolute movement of times which like multiple waves, rising and falling, but the plane of immanence is the single wave that rolled them up and unrolled them. Thus, several parallel words can co-exist in deconstructing architectural installation.
At every moment of perception from artists, all experiences are of normative. The process of expression constantly dispels the purpose itself. At a particular moment, everything becomes reliable and fragile. It may not have a purpose, or the purpose can not be achieved, it can only be approached by expressions.
The work has been displaying a variety of "arrangement", the rectangle overlaps with more rectangles, leading to the dispersion of the visual center of gravity, it is evident that structural organizational functions resemble such that of coordination systems. The whole show looks like a linear narrative that spreads theatrical scenes which viewers need to reconnect and order them based on their individual preconception of a narrative. Allowing viewers to slow down enough to consider my points, unexpected pairings, a feeling of mystery that you cannot resolve like you are diving into the unknown and into the unconscious.
They look so friendly and non- invasive, and they are even more Zen- conscious in their layout. I wanted to combine anything with modern materials in a synchronized, symmetrical, repetitive, and the tailored manner in my installation. It becomes clear that my contamination is the acquired far away from the living environment that can be inferred by the observer but is never completely revealed to create their inherent strangeness, I conduct more metaphysical creation and transformation. When an item is placed in a speci c irreplaceable position, it can logically meet some philosophy points and achieve visual harmony. Whether these coordinates about rhythm and decisiveness is based on the sense of balance or more theoretical methodology. In my view, the video clips and the coordinates of the items are closely related work, both of which are looking for a clear pause. Finding the right relationship between space, time and matter, when all potential has almost been exhausted and have reached a good balance, till can determine the completion of this placement. Then the positional relationship between objects and space began a long and tranquil performance.
When cultural relics, living objects, and plants are all simultaneously displayed in a new space being constructed, adding one degree of separation between us and the representation of our reality, thus shortening the time distance between the past and the future. It reminds me of Plane of Immanence which builds upon the works of French philosopher Gilles Deleuze. Based on his conception, the collapse of space and time implies the same manifestation of multiple times, through the erasure of distance. Furthermore, the complete patterning of space-time causes the representation to lose its referral distance. The plane is the surface of the absolute movement of times which like multiple waves, rising and falling, but the plane of immanence is the single wave that rolled them up and unrolled them. Thus, several parallel words can co-exist in deconstructing architectural installation.
At every moment of perception from artists, all experiences are of normative. The process of expression constantly dispels the purpose itself. At a particular moment, everything becomes reliable and fragile. It may not have a purpose, or the purpose can not be achieved, it can only be approached by expressions.