展览现场
Exhibition View
Collections
URL: lighter_than_99.site
网页，影像，混凝土浇筑课桌，鲜花 Website, Video, Concrete-turned desk, Flower
尺寸可变 Size Variable
2019
Q: 为什么会从设计转向艺术？相比于设计，做艺术让你感兴趣的部分是什么？
A: 设计更关注媒介在言说当中的作用，即“怎么说”对“说什么”的影响。在充分承认这种影响之下，我似乎还是对投入于“说什么”这一端更感兴趣。
以上是学术层面的理由。在实际工作当中，（平面）设计师的工作更多还是服务于某个既有事物，你能够提出的“为什么”是有边界的。而我则有更多想作为作者去表达的，在表达的立场上也期望能更加刨根问底和负责。
Q: Why did you switch from design to art? What interests you more about making art than design?
A: Design is more concerned with the role of the medium in discourse and the influence of “how to say” on “what to say.” With full recognition of this influence, I seem more interested in being involved in the “what to say” side of the equation.
These are academic reasons. In practice, the work of a (graphic) designer is more in the service of something already there, and there are boundaries to the “why” you can ask. I want to express more as an author, and I expect to be more inquisitive and responsible in my position of expression.
Previous Works
门 The Door
布面油画 Oil on Canvas
50 * 40 cm
2022
Q: 设计的学习经历是否依然在创作中影响着你？如果有的话，这种影响体现在何处？
A: 应该有吧。一是让我更容易关注到媒介作为系统本身的作用；二是作为一种惯性的对制作性的在意。
Q: Does the design learning experience still influence your work? If so, how does this influence you?
A: I think so. One is that it makes it easier for me to focus on the role of the medium as a system itself, and the other is the habitual attention to production.
小象 Little Elephant
布面丙烯 Acrylic on Canvas
40 * 30 cm
2021
Q: 你如何看待交互的概念？在你的作品中是如何理解和处理交互的？
A: 我其实没什么研究^ ^。我觉得交互关键的部分应该在于建立一个可以设置输入和输出的系统吧。在这种设置当中，就悄无声息地建立了一套行为准则乃至价值体系。在我的作品中，在这一层面的原创并不多，更多的是观察和强调一些已有的。
在《lighter_than_99》中，我单独制作了一个影像去并置与数字空间和物质空间中的鲜花分别“交互”的过程， 这两个系统所读取和输出的参数就有很大不同：物质世界中的空气，触感，种种额外的摩擦与泥泞在数字空间中是不被计量的。而在这次展览当中，桌膛内的那朵花计量着这些。在另一个涉及交互的作品《hero x》中，我通过一些重复、多视角，试图为原本日常的动作增加额外的景深。
Q: How do you see the concept of interaction? How do you understand and deal with interaction in your work?
A: I do not have much research ^^. I think the critical part of interaction is to create a system where you can set the input and output. A code of behavior and even a value system is silently established in this setting. In my work, there is not much originality at this level, but more in observation and highlighting some existing ones.
In “lighter_than_99”, I made a separate image to juxtapose the process of “interacting” with the flowers in digital space and material space, respectively, and the parameters read, and output by these two systems are very different: air, touch, all kinds of extra friction and mud in the material world are not measured in digital space. In this exhibition, the flower in the chamber of the table measures these parameters. In another work that involves interaction, “hero x,” I try to add extra depth of field to an otherwise everyday action through some repetition and multiple perspectives.
hero x
游戏，服装 Game, Costume
尺寸可变 Size Variable
2018
Details
Details
Q: 你这次展览的作品中呈现了一种分享与传递的概念，你如何看待基于数字/网络化技术之上人与人之间的关系？
A: 这个问题比较大，我回答作品涉及到的部分吧。物质性带来时间和空间上的摩擦，这些积累也作为传统意义上的亲密的组成部分。而在数字网络当中，事物的存在载体是轻质化、去物质化的。在它们占据很大比重的现代生活中，人们关系的核心似乎也在向符号倾斜，人们在如何面对物质性上正变得不知所措。很难单一地断定这种关系到底是更坚韧还是脆弱，这取决于谈论它的语境。不过我自身当时创作这件作品的初衷，其实包含了一种想要向物质回归的渴望。
Q: Your works in this exhibition present a concept of sharing and communication; how do you see the relationship between people over digital/networked technology?
A: This is a big question, so let me answer the part that the work deals with. Materiality brings friction in time and space, and accumulating these also serve as a component of intimacy in the traditional sense. In the digital network, on the other hand, the vehicle of the existence of things is lightened and dematerialized. In modern life, where they dominate, the core of people’s relationships also seems to be tilting toward the symbolic, and people are becoming overwhelmed with how to deal with materiality. It is difficult to determine whether this relationship is more tough or more fragile, depending on the context in which it is discussed. But my intention in making this work at the time included a desire to return to materiality.
我所得到的 Things I have got
影像 Video
1’ 24’’
2021
Details
Q: 作品中的花朵使用了一种低面数的建模，相较于今天被广泛使用的更高精度的建模技术，你在美学上如何看待这种带有怀旧气息的3D美学？
A: 我的本科毕业论文（题目《劣质拟像的美德》）刚好讨论了这一点。其中对于低精度建模的主要观点有三个，一是交还给观看主体更多阐释空间；二是一定程度上解构了高精度—高资本对审美的垄断；三是低面数模型自身的抽象性带来的额外的诗意。
Q: The flowers in the work are modeled with a low surface count. How do you see this nostalgic 3D aesthetic compared to the more precise modeling techniques widely used today?
A: My undergraduate thesis (titled “The Virtues of Inferior Simulacrum”) discussed precisely this point. There are three main points about low-precision modeling, one is that it hands back more room for interpretation to the viewing subject; two is that it deconstructs to some extent the monopoly of high-precision/high-capital on the aesthetics, and three is the extra sense of poetry brought by the abstraction of the low surface number model itself.
Q: 谈谈你对游戏的兴趣？推荐一款你喜欢的游戏。
A: 我认为游戏的所长主要在于两点，一是能够让人第一人称体验在现实中难以实现的体验；二是便于搭建一个完整的系统，并让玩家切身感受机制如何影响（游戏中的）每一个当下的现实。
推荐《极乐迪斯科》吧，尽管现在很少有人不知道它了。我对最后竹节虫的设定很感兴趣。它为人提供了一种避免痛苦的精神模式的畅想：理解一切规律与知识，但除去自我这一界面。
Q: Tell us about your interest in games? Recommend a game you like.
A: I think the strength of games lies in two main things: the capability to give a first-person experience that is difficult to achieve in reality, and the ease of building a complete system and allowing the player to personally feel how the mechanics affect (in the game) every present reality.
Recommend Extreme Disco, I guess, although few people don’t know about it now. I’m intrigued by the setting of the final stick bug. It offers the unrestrained idea of a mental model for avoiding pain: understanding all laws and knowledge but removing the interface of the ego.
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