Photo as a replica in reality witch possesses a representational function; it is a reality that happens within a frame and peoples subjective understanding about their desire to retain Instant feeling, restarting peoples comprehension about the subtle among them.
Photos are considered to be stored in a four-sided visual space, a spectacle that was preserved in the past, the sense of time in old photos sometimes is dispelled for people, its relevances between the image and reality is distant, those circumstances, scenery and people are not related to yourself, although, by reading the characters’ emotions and body movements, it is not difficult to find coherence in it, which is a “synesthesia” to human beings.
The condolence is that this kind of common sense is timeless; the expressions revealed by the characters are not so different from those of today’s people in the photos 60 years ago. For the synchronicity of such an emotion, It creates an imaginary space that prompts us to respond to the process of observation, And aware of the temporality behind it, witch time itself is huge and covers the end and continuation of life.
The image is recording the existence of human, photo transforms the human life and the current time into materiality which becomes the only documentary of its timeline, photos itself becomes a witness of every moment and being read beyond times and spaces, photos declare that their past is dead.
These daily lives and group photos have been retained in the past, by post-production and deconstruction through images, I separate the original timeliness and create a visual space that does not exist. Through creating a dialogue with history, I am in a strange, third-party position to observe this past, thinking about the abstract prophecy between time and death, connectivity between people, staring with a past existence.
Cycle of time is like the circulation of blood, slaughtering the past image turning the original outline into a lack of descriptive appearance which Communicates the state of violence and death, just like a diaphragm on the surface of the body, bring the facts of death into our eyes, become real and be perceived by the viewer.
Death itself triggers violence in hallucinations, time and tragic visual experiences, which distorted record In the body, portrait and image of death. Establishing a pre-narrative and hypothesis that cannot be speculated, the characters in them open the cycle of fighting with time, they are the subjects who are unwilling to obey, In silent silence through strong resistance to texture and lines in the painting.
Portrait Acrylic and Charcoal on paper, 2017
The first layer is the photo itself, a single material with images, a fact in the past itself.
The second layer opens the third relationship between the author and the photo facts through painting, giving messages and narratives to create a dialogue that transcends the present and the past, re-defining the subject in the photo, and responding to the trauma of time.
The third layer flattens the processed image, outputs and enlarges the size, and copies the original photo so that the visual language of the image is enlarged and viewed. The original photo is spliced, and its materiality is repeatedly defined and written. Its uniqueness leaves the context of its time, photo, and the ready-made objects of the background constitute to another landscape.
I transformed it into a part of the work through the trauma of history and the individual interpretation of violence. like a preposterous drama or a disaster image, historical facts and violence do not stand in the absolute position of their meaning, It is important to capture the fantasy of flow and exchange in the so-called “real” and different visual symbolic forms. For “trauma”, I try to find a language to get some extent from history and violence. The past time is a chasm which we transform the subject and the object and overlay the facts that belong to us to the image and portrait.