practice

“All that is solid melts into air”. This is not a sudden moment, but a long-term hiding in the past we were convinced. Just like the firm belief in the world, the material in experience is a solid existence. The grasp of material meaning comes from language. It seems to have the power to determine the attributes of things to be interpreted. Language and the world exchange each other until it exhausts its own significance. I am fascinated by the migration and critical state of matter, which cannot be grasped by language, and continues to move in dynamics. When the possibility of interpretation and measurement is loosened, disputes arise.

Dispute is not the hostility of language, but the overflow state of matter itself. I constructed a non-daily state- a gradual, hidden, and fleeting suspended state. In the space constituted outside of this daily experience, minerals, twilight lines, water, ice and foam. The concrete matter will escape from the meaning of defining itself, re-exposed in time, and they become individuals reconnecting to the world. Fragments and stardust reconstruct the current relationship between body and space. These images come form the suspicion of “reappearing the world”, and the existence of those who firmly believe is disintegrated from a solidified state. If there has ever been a solid thing, perhaps it was also a projection from an ardent belief that we have never been in a world that can be called “solid”.

At this moment, standing back in the fragmented scene, the only sincerity is to gaze at those suspended objects instead of entrusting them to interpretation. When the image is stripped off, the material image constructs an ambiguous space that presents a “critical” state. They are open and waiting for the overflow to happen.

These boulders are time-carrying. They witnessed the degradation of glaciers, eruptions of volcanoes and this phenomenon is still continuing in other places in this world. I chooses to photograph them in early morning or night – when the light is not clear, our perception of time also tends to chaos and eternity. “While I blossomed all alone, the world slumbered”. The artist is infinitely close to the divinity of heaven, earth and nature in Freidrick Holderlin’s poems. In its intimacy with the natural world and feeling for the divine, It calls to mind this poetry. The breath of light, the heaviness of the positive film and lightness of the negative film all try to remind us of our perception of time and space again, and maintain our respect for the invisible forces of nature in the reversal of the daily world.