BIYUNLIUYINJI 碧雲流吟集
This project presents the largest installation in the portfolio, featuring any chinoiserie components, which brings an extra dimension to others. The inspiration comes from Xu Bing's typographic prints and Ane Graff's coloured glass cabinet installations. The central part of the installation is made of double-layer colourless acrylic boards, the outer layer is engraved with traditional Chinese texts, and the inner layer plays the role of connection and fixation. The installation shows a continuation of blue due to the water-based and cellophane transparent film pasted on the back of each board, graphically conveying an exquisite vision.
Of course, this installation reveals a more profound and broader connotation—the gap between Eastern and Western cultures and even all opposing things. Is this gap challenging to resolve? The texts on the surface of the 72 acrylic plates in the installation describe the introduction of 72 bird species in Australia. Since the artist was deeply impressed by the local birds when studying in Australia, and the texts of the birds represent different cultures. It is interesting to use traditional Chinese typography to describe Western species.
The background uses coastal reefs and birds in the blue sky full of foreign, and through a series of technical means, the artistic style of the image is close to that of Chinese ink painting. Moreover, the top is a bamboo cage treated with silver spray paint. In other words, the appearance of the entire device is similar to a cage, which can accommodate several people to enter. This installation tries to use this immersive context to express the weird conflicts between different cultures, causing most Chinese living overseas to face many misunderstandings and limitations. Like a cage, it is difficult for people to break through a transparent wall, which breeds a mentality of self-lost. This impenetrable gap is a subject that people need to resolve and discuss in the long run.
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PART 1
V-PARK Future Lifestyle Innovation Center, Liede, Guangzhou, China (2022)
PART 2
ArtOne International Art Center, Guangzhou, China (2022)
Cheng Ming Building, CUHK, Hong Kong SAR, China (2024)
INSTALLATION
Cheng Ming Building, CUHK, Hong Kong SAR, China (2024)
Cheng Ming Building, CUHK, Hong Kong SAR, China (2024)
Cheng Ming Building, CUHK, Hong Kong SAR, China (2024)
INSTALLATION
THE INVISIBLE SELF
ALUMINIUM PROFILE
SOFT SCREEN
ACRYLIC PLATE
2022
THE INVISIBLE SELF
This work conveys the 'self-doubt' that contemporary female artists may experience in their careers. The artist's chaotic and vague inner world is transmitted through this experimental device. The creative process was highly researched, from design sketches until the eventual manufacturer's technical processing. I purposefully discarded traditional elements in this process with state-of-the-art materials. The exhibition venue further utilized soft lighting to create a sense of mystery around the work. The viewer is intended to feel a sense of discomfort when looking at this.
The art installation presents a more obscure depiction of the human form. This piece uses aluminium profiles, flexible display screens, and an uneven mirror surface placed in the centre cut into the shape of a woman's body. The mirrored surface ensures that people walking past the exhibit would see a blurred version of themselves in the piece, creating something unique to each observer. The screens on either side show an eye shining with a strange light, conveying the criticism that any dreamer in society experiences; the sense of peculiar eyes watching them. The installation also seeks to evoke the threat of technology, offering an immersive interpretation of problems in the contemporary context of art practitioners.
VANITAS
In this project, the data manifestation presents seven representative countries on the GBD 2017 dataset website: the United States, Germany, France, India, Australia, China and South Africa. Each country is represented by a customized glass and skull bottle, and the eighth bottle represents the world. These bottles were filled with water and edible oil mixed with black oil paint. The black liquid part represents the index of the number of premature deaths caused by alcoholism (compared with other countries). There is an explanation label on the back of the wooden block under the bottle. A candle and a white lily on both sides echo the ‘Vanitas’, which respectively express the end of life and the funeral. At the bottom is a camel interlining, and the whole tone is pale and monotonous. Shooting time spans from day to night to emphasize the connection between alcohol and death through the image.
VANITAS
GLASS BOTTLE
WOODEN BLOCK
WHITE LILY
CANDLE
2021
