photo by Yifan Li
The work aims to express the personal view that "in the light of life there is an inevitable death".
Materials commonly found in everyday life such as aluminium, stainless steel, rubber and wood are used.
The direction of the research is based on the analysis of the series of works by Nobuyoshi Araki, particularly around the impact of the work 'Dead Yoko' in terms of life and death. An observational approach is used: a discussion that focuses on the details by documenting in order to enlighten and make the viewer pay more attention to things that are often overlooked.
In the work, the bedroom is used as a vehicle for private space, using the subtleties of what is happening as a means of voyeurism. By acting on the relationship between people and domestic objects, it discusses how intimacy works against the highly inflated personal emotions and extremely intimate narratives of the minutiae of everyday life. It is an extreme emotion that is deeply hidden.
photo by Yifan Li
photo by Yifan Li
The opening chapter chooses a subject sufficient to carry the whole story line, a reflection on life triggered by time. Based on her love of plants, the photograph is a physical record of the visualisation of "life" and "death" in the same fixed space after she has pruned the plants, and the subsequent "funeral". The connection between plant and shadow that exists throughout the act of moving. These will be discussed separately as framed photographic stories.The result is an objectively presented documentary image, an act that is so commonplace that it is exercised every day because of time, but which contains within it a reflection on the intersection of time and life. Following on from the above inspiration, we will capture the traces of life over time, completing the recording and reflection on the expression of time through life, inspired by the 'three pieces a day' and extending it to the quietest and most thought-provoking object in furniture - the chair.
photo by Yifan Li
The water is a miracle-like trace left by the flowers at the end of the day's 'funeral', after the lover and the flowers have left the bed. Considering whether the process and the outcome of the watering of the beloved are equally related, the water and the water stain are separated out so that they can be recorded in a way that continues the relationship between the beginning and the outcome of the act. It is a process of recording that is free from deliberate, active and impersonal. In the act of dripping, the water contains a convergence of all the actions that are taking place in the same space, and the results that they produce, with the carbon dioxide incorporated into the drop.The above process and result also holds true when a flower is placed in a vase. From this it can be concluded that the vase or the white blank cloth in the record is the vessel that receives the water stains produced by the water after the act is performed, and the unsealed vase, which extends the water, oozes out and continues the next miracle.
Five things. 2021.04
aluminum, stainless steel, rubber and wood
Trace relics obtained indirectly are discovered and collected during interactions with loved ones. However, there is rarely a direct link between them, and thus the subsequent collection process is more biased towards direct collection, and the recording of traces after physical contact. Thus, in many details, a series of questions was chosen on the direct reaction to scratching caused by the excessive accumulation of cat hair, and acting on the body.In a way, these problems directly represent the bridge that has been built with the lover. Noticing this concrete thing, and looking at the surviving video recordings, one finds two people sitting side by side, one comforted by the other's giving, both on the same plane establishing a state of equilibrium together. Based on the presentation of the act itself, and the balance between the two, the two parts of the chair, the surface and the back, were separated for the experiment. The act of scratching a lover's itch is more fully interpreted in the presentation of the work.
Five things. 2021.4
aluminum, stainless steel, rubber and wood
aluminum, stainless steel, rubber and wood
The soap is an object of everyday life, but also a voyeuristic object of life, a constant record of the fluidity of intimate spaces. At the end of the "funeral", the traces of the relationship between the two men surround and together end the prying into the intimate space.
In "life" and "death", the traces left by the objects arrive at the moment of the end of the "funeral". The soap is always brought to a screeching halt at the moment when the person leaves the room of their own accord, resting in a soapbox that is not affected by the water. This shrinking dynamic and relative expansion is what is achieved in the record.
photo by Yifan Li
Five things. 2021.04
aluminum, stainless steel, rubber and wood
Zooming in on a natural environment where the soil is well watered, the walls are laminated with an absorbent mesh material and the process of how the result is produced is analysed. The process of acquiring dots, large and small, can be seen as the active acquisition of information about the recorded object under the relative movement of the mesh.
Simulating this type of active recording of the grasping process. The single act of pressing the water jet with one hand is used as a grasping action to control the performance of the acquisition of more or less dots by relying on bright spots, i.e. in response to changes in brightness intensity.