展览现场
Exhibition View
Collections
席梦思与花 Simmons and Flower
收藏级数字喷绘、不锈钢条、纸巾、棉线
Archival Digital Print, Stainless steel strips, Tissue paper, Cotton thread
138 * 104 cm
2022
泡泡床与花 Bubble Bed and Flowers
收藏级数字喷绘、不锈钢条、纸巾、棉线
Archival Digital Print, Stainless steel strips, Tissue paper, Cotton thread
138 * 104 cm
2022
Q: 在你的作品中，面部与人的身体似乎常常是一个被抹除的符号，为什么？
A: 其实在我过去的作品中，抹除的东西有很多，只不过人的面部和身体被处理后的结果，对于大多数人来说是最显眼的。如果一张头像，我抹去的是脸部的痘痘，而不是五官，那很可能就意识不到“抹除”的这个动作。可以说，我的目的是想强调我对图像处理的这个动作，而不是图像本身。
Q: In your works, the face and the human body often seem to be erased symbols. Why?
A: Practically in my past works, many things are erased, except that the human face and body are treated in such a way that the result is the most conspicuous for most people. If I erase the pimples on the face instead of the facial features in a headshot, I will likely be unaware of the action of “erasing.” I intend to emphasize the action I am taking with the image, not the image itself.
Previous Works
白癜风 Vitiligo
彩色打印 c-print
40 * 50cm
2020
身体、球、⻛筝和外套
Body、Ball、Kite and Coat
双屏⾼清影像 Dual-screen HD video
9’40”
2022
Q: 在你的工作中能够看到图像的泛滥与数字技术对图像的巨大影响，今天的图像对你来说意味着什么？
A: 在我看来，图像从来都不只是一个被观看的对象，我总会想可以对它做点什么。小时候就经常把课本里的插图改得乱七八糟，给李白换个发型，把杜甫改成肌肉人之类的。今天只不过改造图像的工具变得更加便捷了而已。越来越便捷，便捷到可以直接预判你的决定。但在这些便捷背后到底有什么样的标准和逻辑？“教”会我们生产属于“自己”的图像。我们是否正在逐渐地变成一台台看似有很多选择的图像生产机器。在这样的语境下，我们看到什么样的图像并不重要，我更关注的是这些被观看的图像是由谁生产的，是如何生产的，以及它背后还隐藏了什么。
Q: In your work, one can see the proliferation of images and the significant impact of digital technology on the image. What does the image mean to you today?
A: I think the image has always been more than just an object to be observed. I often wonder what I can do with it. When I was a kid, I changed the illustrations in my textbooks into a mess: Li Bai’s hairstyle, Du Fu into a muscle man, etc. Today, it is only that the tools to transform images have become increasingly convenient, so convenient that you can directly prejudge your decision. However, what kind of criteria and logic are behind these conveniences? We are being ” educated ” to produce our images. Are we gradually turning into image production machines with seemingly many options? In this context, it does not matter what kind of images we see, but rather who produces the images we see, how they are produced, and what is hidden behind them.
I’m being fast、⽤⾹蕉修补⼀张壁画、放⼤镜、电动⾹蕉
I’m being fast, repair a mural with bananas, magnifying glass, electric, bananac-print
尺寸可变 Dimentions Variable
2019
Q: 技术使图像分辨率不断提高，而你的作品中大量出现模糊失真的效果，这指向了什么？
A: 它们模糊或⾼清，我觉得并不那么重要。10年前最⾼清的图像跟今天随便⽤⼿机拍的图像对⽐，它⼀定就是模糊的。只是单纯的讨论模糊和清晰是没有必要的。如果⾮要说，我认为我的作品⾮常的⾼清。如果你觉得它模糊，那是因为你还在⽤像素的概念来判断。我已经逃出那个框架了。
Q: Technology is increasing the resolution of images, and your work has a lot of blurring and distortion. What is this pointing to?
A: They are blurred or high-res; I think they are both okay. The sharpest image ten years ago compared to a random image taken with a cell phone today, it is got to be more blurred. There is no point in discussing fuzziness and definition solely. I think my work is very high definition, if I may say. If you feel it is blurry, it is because you are still using the concept of pixels to make your judgment. I have escaped from that framework.
How to seen.系列 How to seen.set
彩色打印 c-print
100 * 100 cm
2019
搏击/边界或小人 Boxing/Border or Tiny People
彩色打印 c-print
200 * 300 cm
2019
Q: Photoshop中的功能在你的作品中以某种“笔触”或“绘画语言”的方式出现，你如何看待这两种不同的工具？它们之间是什么样的关系？
A: 最直接的关系应该是握笔这个动作，但在我的图像里，笔的作用仅仅是让我可以快速的在图像上做出自由的范围选择，然后通过重组图像的元素，变成新的图像。
Q: The functions in Photoshop appear in your work as a sort of “brushstroke” or “painting language.” How do you see these two different tools? What is the relationship between them?
A: The most direct relationship would be holding the brush, but in my images, the brush allows me to make a free range of choices in the image quickly and then restructure the elements of the image into a new one.
Details
Q: 从“望京炮王”到新作品中色情录像里的床，性这个主题在你这里扮演什么样的角色？
A: 都只是幌⼦，我对讨论性没什么兴趣。绕开它，你就会看到别的。今天我们接触到的⼤多数图像也都有⼀个类似“性”的外⾐。如果你能够绕开它，也许才能从这些图像中看到更多的东⻄。但事实可能是，你发现绕开它并不是⼀件容易的事。
Q: From “Pa Pa King” to the bed in the pornographic video in your new work, what role does the theme of sex play in your work?
A: It is just a superficial thing. I am not interested in discussing sex. Most images we encounter today also have a ‘sexual’ exterior. If you can get around it, you may be able to see more in these images. However, the truth is that you may not find it easy to get around it.
望京炮王 Pa Pa King
⽹络⽂本，⾳频，彩色打印 Web Text, Audio, C-Print
476 * 68cm
2018
AV风景 AV scenery
彩色打印 C-print
170 * 10 CM
2021
Q: 视频正在逐渐充斥并替代图像曾经在互联网中占据的空间，这对人们获取信息或理解世界会产生什么新的影响？
A: 在我看来给任何静⽌的图像加个时间线，就是视频了。图像处理系统先把你变成⼀台照相机，然后再把你变成摄像机，⽽且⾮常智能。⼿指⼀划，现成的⾊调配上，再⼀划，为你推荐Top10流量配乐。最后再点击⼀下，轻松发布，好是开⼼。⼀连串“属于你⾃⼰的图像”在互联⽹中快速的流窜。
Q: Video is gradually filling and replacing the space that images once occupied on the Internet. What are the new implications for people’s access to information or understanding of the world?
A: Adding a timeline to any still image seems to make it a video. The image processing system turns you into a camera and then a video camera, but in a brilliant way. One swipe of a finger and the filters are ready to go, and another swipe and the top 10 trending soundtracks are suggested for you. One last click, and you are ready to go. It is easy to publish, so it is a pleasure. A series of “your own images” circulate quickly through the Internet.
时代在召唤 The generation is screaming
⾼清数字影像 3-ChannelHD Video,Color, Sound
04’31”
2018
I’m being fast
⾼清数字影像 / 3-ChannelHD Video,Color, Sound
时间 / duration : 05’06”
2018
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