I have been conducting a series of artistic activities in part 1 which include installation, interactive installation, 4D(photography, video, sound), 2D painting, material exploration and theoretical research.

But whatever the medium is 2D/3D/4D, I want to call the art that I am doing is conceptual art. In conceptual art, ideas or concepts are the most important parts to construct the work. Work without conceptual is just visual garbage without a spiritual core. For me, art is an important means of transforming concepts and ideas along with expression. The art to satisfy the eyes should basically be called the art of perception, not the art of conception.

And I think the idea of ​​success tends to look simple because they seem inevitable. Therefore my expectation for my works is that they should be straightforward, clear and dynamic. Complicated things would weaken the strength of the work itself.

It is worth mentioning that among all the medium, I have big interest in interactive installation. I think it is an extension of installation art. Unlike for installation art, audience participation for interactive installation is an essential element.

I hope that my work contain a reflective purpose. People can notice that they exists in the same space as the work. I hope that people will realize more clearly than ever that they are establishing relationships by themselves, when they are grasping objects from different positions and under changing light and spatial contexts.

It is this distance between the object and the subject that establishes a broader context because physical participation becomes necessary. I want to emphasize that things and people stay in the space, not just people in the space, and surrounded by things. And trigger the audience to think about their relationship with space and their relationship with the world. I will keep trying to explore into this direction.

And also continue my research on the social issues and philosophical topics that I am concerned about, which determine the direction, depth and intensity of my works.

The core of my artistic practice and research always involves the concept of “human,” like the relationships between people, between people and the world, between people and their identities; the changes of people in the times; the phenomenon that people are gradually virtualized and symbolized, etc.

I've contemplated my pathway choice. I will choose sculpture.

I was hesitant at the beginning. My concern is that 4D will be more inclined to electronic media, but the sculpture is more inclined to the appearance and technology of sculpture. I am measuring which one is more focused on the concept. 2D is not within my consideration, because it is not the most important part to me, nor is it what I want to further develop.

The artist Zlivinas Kempinas I want to mentioned here. His work gives me a new perspective on sculpture.Zlivinas Kempinas uses a fan to put the videotape in the air, without hanging from the ceiling or standing on the floor.  That sculpture does not necessarily have a pedestal.

Then I realized that the medium of sculpture is not as limited as I thought. From another perspective, I want to try to redefine the medium of sculpture and break its inherent impression (physical, inanimate….).

Language and Text

11/09/19

From the two magazines, consciously select the middle text and create a new text through secondary integration.

This exercise made me realize that the combination of words can consciously create an atmosphere and arouse the mood of the audience. Here is a summary of a work. "Every is going to be Alright" by Martin Creed.

Once the text is combined, there is an intention.  I can feel the power of words, how subjective but attractive they are.

I tried to write a poem with the cut words.

4D Project

12/09/19

Medium：Video

About the Body.

Explore a range of methods to consider various ways of interacting with immediate physical environment with my body; documenting my actions through lens-based means.

Measuring space with the body.

I am driving alone in the bumper car field, using my body to drive the car and use this as a medium to measure the entire space.The action I set for myself is: rotate, rotate all the time.

Instead of using initaitative consciousness to drive the car, it turns the body into a physical medium to discuss the space.

Screenshot of video:

How to make a person disappear.

19/09/19

Medium: Video

We watched a video of Hero Steyerl.
The video is divided into five sections, each showing a way to "How not to be seen".

I think this seems to be a humorous short film, but it leads to another question that is thought-provoking: Why does one don't want to be seen by others?

By group work, in a limited time, with the idea of "stealth" as the starting point, create a work.

Our idea is that we are looking for someone who is clearly in our field of vision, but by shooting angles and editing, this person is "invisible".

We photographed objective perspectives and subjective first-person perspectives, and edited them together. The objective perspective shows us the search for this “invisible” person, and the subjective perspective shows the existence of “invisible” people. (She is just "invisible")

Selfies and Identity

Regarding the selfie, consider how to show real and fictional things in your selfie.

As we can see, red light from different directions will have different effects on the person in the photo.

When the light is in the center, it seem light spread out from the body of me.

Light approaches from variety of directions.It also affects the object by its difference in directions.

When the light floods the entire picture, the outline of the person is swallowed up.

In fact, I am showing through this photo how the Internet made person virtualized or partially virtualized.

Another attempt：

Question 1

Is there a specific point at which action becomes art?

Yes, that is the concept. This means that action is not happening randomly in the day, but by refining it to become a product in a special context.

Behaviour - every move in the daily state; Performance - a way of moving away from the state of the day, a purposeful way of movement, which can be a reproduction of everyday behaviour, and in a special context, is Art.

Behaviour is our daily behaviour. Lifting our legs, walking, breathing, and speaking are all our actions. Through a combination of independent actions, we are free to move in space. It can be said that behaviour constitutes our daily routine. Activities, in this process, there are no components of performance, and usually, the development of behaviour is caused by our subconscious experience. For example, when we pick up an apple, we don't need to go through the previous planning, and after careful consideration, we can find the best way to get the apple. Even this behaviour does not require us to think about it. The act of "pick up" is only the direct reflection of the body under the impetus. But in the performing, all the performers' behaviours are the constituent elements of a performance. In other words, all behaviours are separated from their daily routine in performance and replaced by the purpose of behaviour. One purpose is what we need to achieve through performance. It can be the reappearance of an event, the display of the emotions of the performer, the rhythm of the body, or the shaping of a character. When the performer begins to perform, he enters a field similar to the stage (but not necessarily on the stage, and does not necessarily need the viewer to exist). In this field, everything he has: Physical exercise, speech, and even the rotation of the eye are all serving a certain purpose, that is, what the person is doing officially in his daily life, but with the performance of the performance, this person ( This performer ) is out of daily activities.

Question 2

How can we move freely in our bodies and across borders, in art college and across the cosmos?

Establish a field by establishing context.

Question 3

How and when photography is a performance?

When it exists autonomously.

Question 4

How did you find the use of your smartphone as a medium? Consider the local and wider implications of the use of such a mediated device.

In this digital age, everyone has a smartphone, everyone can record with their mobile phone at any time, the threshold of photography is reduced, and it becomes a mass media. It can capture even more moments than the camera.

Question 5

In what ways has this advanced your understanding of how a camera lens observes the world around you?

On the surface, it is very simple for everyone to record life with a camera, but the “authority” of observing the world through this medium lies in its connection with facts and is an image of reality. It is the difference between presentation and reproduction.

Question 6

In what ways has Philip Auslander’s Textron the documentation of performance, affected your understanding of the act of performing in front of a camera versus the documentation of this act?

“Body art activities require photographs to confirm that they have occurred; photographs require body art activities as their exponential ‘anchor.’”

They exist with each other.

（30/09/19,01/10/19,04/10/19）

Interactive Intallation

Material：Paper

63cm*10m

Name of work:

All ocean waves origins from one ocean.

Sometimes, a warm and intimate experience may not be the reason for individual deep memories. But an accident, which would be a direct experience from strangeness to familiarity.

I chose an experience of me almost got killed by the ocean waves.

After this incident, I felt I’ve became very familiar with the ocean. It became a point of my flashbacks that I’ve had in my dreams over and over again. I felt I’m revisiting the moment over and over which also builds up the feeling for the space and memory.

And it raises a new question：

People's emotional experience is also different due to different perspectives on the accident they encounter.

Some people may live in a fear during their life time.

Some people feel the power of nature in the moment and admire more to the nature.

Some people used to been through near death experience may feel more alive than before.

After experiencing a mishap, reviewing the subtle transformation of accidental emotion is the different emotional treatment of human's response to suffering.(Expansion in the timeline of thinking）

The key to the work is not reoccurring personal experiences and memories of space. It is to extend the idea of how each individuals face the various events in life and how emotion drives to complete the construction of space.

In this project, I utilize the maximum walking space.

With white papers covering the floor, viewers walk around the room, leaving traces. The papers are no longer pure because of the participants, at the same time, record people’s wandering. The nature of our interaction makes this work a reality. The emotional choices of people are building this space together.

This work also involves my idea of trying to control public space with my work because people might detour around these pure white papers unconsciously or step on it stunned.  And as long as there are people compel around there, this work will  them to interact with it. I find this part very interesting.

About the size of the work.
Deciding the size of a work is not an easy task. The question is what size is most suitable. If the work is too big, the impression itself is too deep, and the concept itself is gone. Similarly, if the work is too small, it may become trivial. The height of the audience may also have an impact on the size of the work and the space in which it is located.

The exhibition method should serve to help the audience understand.