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屏幕信仰 No.2 SCREEN BELIEF NO.2
录像 /3.81 寸四显屏 / 显示器驱动模块 / 微型计算机 / 精雕亚克力 / 定制电源
Video / 3.81 inch quad screens / Screen drive module / Mini computer / Acrylic / Customized power
15 * 17.5 * 12.5 cm
2022
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光标、路径、身体 No.6 CURSOR, PATH, BODY NO. 6
PVC 热弯管 / 玻璃钢模型 / 铝片 / 喷漆 / 定制展台
PVC tube/ 3D printed model / aluminum / spray paint / customized platform
200 * 130 * 70 cm
2022
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Q: 从早期作品中使用的录像及手绘动画的媒介形式到近期的新作，技术的更迭在你作品的发展中起到了何种作用？
A: 媒介自身所承载的张力是我一直颇为着迷的，每一种媒介都有其独特性和切入角度。我在近十年的艺术创作进程中，也希望自己保持一种流动的、更新的状态，不希望自己永远处在可预见的、安全的、恒定的环境之中。在我看来，艺术创作很大的魅力在于它的鬼魅与未知，我永远不知道自己的下一件作品会怎么样，会使用什么样的媒介，会利用怎么样的技术。把自己对永恒和当代的观察投入进观念、媒介、技术、形式、语言的混沌大河中，将会有无限可能。
Q: How has the change in technology played a role in the development of your work, from the video and hand-drawn animation mediums used in your earlier works to your more recent ones?
A: I have always been fascinated by the tensions the medium carries, and each medium has its uniqueness and angle of entry. I also want to keep myself in a state of fluidity and renewal in my artistic process of the last decade, not wanting to be in a predictable, safe, and constant environment forever. In my perspective, the primary charm of art practice lies in its mysterious and unknown nature. I never know what my subsequent work will be, what medium I will use, and what techniques I will utilize. I put my observation of eternity and contemporary nature into the chaotic river of concept, media, technology, form, and language; there will be infinite possibilities.
Previous Works
(与文字致谢艺术家、想象力学实验室以及Gallery Vacancy)
荧屏旗帜No.2 SCREEN FLAG NO. 2
录像/定制LED软膜组/显示器驱动模块/定制LED背板/定制旗杆/电源
video / customized flexible LED display set / screen drive module / customized frame carrier/ customized flagpole / customized power
250 * 152 * 16 cm
2021
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标本重置No.3 THE VANISHING PROPHECY NO. 3
录像/5.5寸屏幕组/显示器驱动模块/定制亚克力弯折管/绝缘液/无线供电模块/电源
video / 5.5 inch display set / screen drive module / customized acrylic tubes / electrical insulating oil / wireless power module / customized power
205.4 * 230 * 12 cm
2021
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Q: 你近年的作品中反复出现一种高饱和度的蓝色，让人联想到天空、海洋以及出现故障的电脑界面。你是将它作为一种具有个人辨识度的标签化语言来使用的吗？还是有别的用意？
A: 颜色本身也是一种符号，它可以传递很多信息，给予观众心理暗示。同时，一块颜色又拥有广义的、多层次的寓意和语义，它为观众介入作品和媒介提供了底色和“滤镜”。最近几年的工作，这种高饱和的蓝更多的在指向电脑蓝屏。因为我的研究方向聚焦在如今人与屏幕、互联网之间的多重关系，而我使用了诸如影像装置、打印装置、雕塑等多种媒介语言，我试图用这块蓝色统一作品的叙事语境。
Q: A highly saturated blue color repeatedly appears in your recent works, reminiscent of the sky, the ocean, and malfunctioning computer interfaces. Do you use it as a personally identifiable hashtag language? Or is there something else going on?
A: Color is a symbol in itself; it can convey much information and give psychological cues to the viewer. At the same time, a piece of color has a broad, multi-layered meaning and semantics, which provides an undercurrent and a "filter" for the viewer to engage with the work and the medium. In recent years of work, this highly saturated blue has been directed more towards blue computer screens. Because my research focuses on the relationships between people and the screen and the Internet today, and I use a variety of media such as video installations, print installations, and sculpture, I try to use this blue to unify the narrative context of my work.
死亡转轮 THE SPINNING WHEEL OF DEATH
磁悬浮底座/悬浮磁铁/石膏板/定制木盒/艺术微喷/3D打印
magnetic levitation platform / magnetic levitation / plaster board / customized wooden box / giclée / 3D printed model
尺寸可变 dementions variable
2021
Q: 同样的，“手”的符号(米奇&emoji的挪用)也在你的作品中高频出现，你认为“手”在当下数字化的劳作中扮演着什么样的角色？
A: 因为如今“手”在当代文化中可以传递很多信息，它作为身体姿势（姿态）的重要组成部分，其中的政治属性和当代环境中的异化是我尤为感兴趣的。比如在《降维广场》系列中高举的拳头这一身体姿势，透过像广场这样的现实空间和emoji为首的网络空间，它所传递出的政治性是有不同层次的。你也可以去联想这个符号在现实中的政治性与emoji中可爱化的关联。再比如互联网用户“手”的异化，光标成为用户身体的延伸物。所以在《光标、路径、身体》系列创作中，用户的身体（手臂）、光标路径（管道）、光标（刀刃）几者达成一种幽灵式的结合。
Q: Similarly, the symbol of "hand" (the appropriation of Mickey & emoji) also appears frequently in your works; what role do you think "hand" plays in the current digital labor?
A: I am particularly interested in the political properties of the "hand" as an essential part of the body's gesture and its alienation in the contemporary environment. For example, the body gesture of the raised fist in the "Descending Square" series has different levels of politics through the real space like the square and the online space led by emoji. You can also think of the connection between the politics of this symbol in reality and the cuteness of the emoji. Another example is the alienation of the Internet user's "hand," where the cursor becomes an extension of the user's body. Therefore, in the creation of the "Cursor, Path, Body" series, the user's body (arm), cursor path (line), and cursor (blade) are combined in a haunted way.
降维广场 No.2 The Jokers’Revolution No.2
装置／升格录像／5.5寸LCD组／显示器驱动模块／树莓派／超声波传感器／不锈钢／定制电源
Installation / Hi-FPS video / 5.5inch LCD module / Screen drive module / Ultra-sonic sensor / Stainless iron / Customized power
90 * 90 * 170 cm
2020
Q: 屏幕在今天作为一个充满诱惑性的介面存在，你为何将它与信仰的概念连接？
A: 在对于宗教历史的关注中，我发现《圣经》的承载物的变迁是个很有意思的角度。在造纸术发明之前，它是被书写在晒干的羊皮上的。而在中世纪之后，它被印刷在纸张上。上个世纪70年代，美国已经开始在电视机上通过屏幕传福音。那我就在设想，如果在未来，一个纯粹的屏幕世界，是否屏幕会成为信仰交流与感知的主体。但与此同时，我又对屏幕是否能制造信仰所需要的冥想与神圣持怀疑态度。在这里，媒介的演变成为我思考的起点，屏幕与信仰之间微妙的悖论关系成为我创作《屏幕信仰》（Screen Belief）系列的出发点。所以在作品设计这一环节，我故意使用四块等大的屏幕，让经典的十字架符号通过屏幕与屏幕的间隙中发散出超自然式的光线，把这份神圣呈现在这分裂又弥合的屏幕之中。
同时，屏幕的角色如今真的好似一个信仰之物，我把它称作“信仰合成器”。每个人都深陷在这小小的发光矩形之中。若我们可以跨越时间的维度观看如今的人类行为与活动，屏幕如今正成为人人每日诵读的“圣经”，人们在它上面完成着自我展示、自我监视、自我剥削与自我救赎。
Q: The screen exists today as a seductive interface; why do you link it to the concept of faith?
A: In my concern for the history of religion, I find the change of the bearer of the Bible an interesting perspective. Before the invention of paper, it was written on sun-dried sheepskin. Moreover, after the Middle Ages, it was printed on paper. In the 1970s, the United States began evangelizing through television sets and screens. Then I envision, in the future, a purely screen-based world, whether the screen would become the subject of faith communication and perception. At the same time, however, I was skeptical that screens could produce the meditation and sacredness that faith requires. Here, the medium's evolution became the basis of my contemplation, and the subtle paradoxical relationship between the screen and faith became the starting point for my series "Screen Belief." Therefore, in the design of the work, I deliberately used four equal-sized screens, allowing the classic cross symbol to emit supernatural light through the gap between the screens, presenting this sacredness in the splitting and bridging of the screens.
Meanwhile, the role of the screen is now really like an object of faith; I call it a "faith synthesizer." Everyone is deeply immersed in this small luminous rectangle. If we can look at today's human behavior and activities across time, the screen is now the "bible" that everyone reads every day, on which people perform self-presentation, self-surveillance, self-exploitation, and self-redemption.
标本重置 No.2 The Vanishing Prophecy No.2
影像装置／录像／6寸OLED组／显示器驱动模块／树莓派／无线供电组件／亚克力／铝型材底座／定制电源
Video installation / Video / 6inch OLED module / Screen drive module / Raspberry pi / Wireless power module / Acrylic / Aluminum base / Customized power
40 * 40 * 177 cm
2020
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Q: 你对今日的媒体技术背后的意识形态抱持什么观点？你的作品是一种对它的批判与反思吗？
A: 我觉得自己一直在扮演着观察者的角色，不是在完成一种二元式的工作，比如批评或反思，赞美或推崇。我还是在不断体会着当代生活悄然延展出的新悖论与新异化，并希望借艺术的转化能力，为观众提供可阅读、可感受的视角。
Q: What is your view of the ideology behind today's media technology? Is your work a kind of critique and reflection on it?
A: I have been playing the role of an observer, not accomplishing a binary work, such as criticizing or reflecting, praising or promoting. I am still experiencing the new paradoxes and alienations that quietly extend from contemporary life, and I hope to use the transformative power of art to provide viewers with a perspective that can be read and felt.
临渊凝视 No.1 The Abyss Watchers No.1
影像装置／录像／2.39寸双显屏／显示屏驱动模块／迷你主机／亚克力／定制电源
Video installation / Video / 2.39inch dual screen / Screen drive module / Mini computer / Acrylic / Customized power
13 * 12 * 10 cm
2019
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Q: 你的近期作品中开始更多的出现雕塑的形式(底座及造型)，甚至结合了空间本身的构建，这种变化是如何形成的？
A: 我其实对各种各样的创作媒介都感兴趣，我从没把自己拘束在任何一种媒介和语言上。静态雕塑是我近两年的新尝试，而我所做的屏幕装置，某种程度上也是一种雕塑或建筑式的语言，我有时也管它们叫做“屏幕雕塑”。结构、张力、语言、空间，都是我在做这些作品时关注的重点，所以整体上我认为它们是相通的。
Q: In your recent works, sculptural forms (bases and designs) have started to appear more often and even combined with the construction of space itself; how did this change come about?
A: I am interested in all kinds of creative mediums, and I have never confined myself to any one medium or language. Static sculpture has been my new experiment in the last two years, and the screen installations I make are also a kind of sculpture or architectural language to some extent, and I sometimes call them "screen sculptures." Structure, tension, language, and space are the focus of my attention when doing these works, so overall I think they are intertwined.
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