Pictures and memory degradation

For me, all chance encounters are unique meanings happening, passing by the current time and space, capturing from the old photos as an unknown character. In the tedious and long collection and creation process, use a very intimate emotion to look at this character forgotten by time.

Through the deconstruction of historical photos and the process of discussing pictures and memory degradation, I combine this temporality with the Image noise of analogue signal (Includes particles and text of digital images) Trying to piece together a process of time and information disintegration.

As a transparent version of the background and structure, it is a container, it is a place where objects are placed, and it is stored according to visual space. It provides structure and is maintained within an industrial set size and is standardized. 1cm x 1cm square space.


Men with glasses, photos, mix media, 49x50cm, 2019

It is certainly sure that image of history is repeatedly written and defined. The photographs and memories themselves have ended in the past and evolved into a flowing massage. Its existence is distanced from the viewer due to the accumulation of time and essence is gradually diluted.

I tried to ask a question about how the “history” of the photo itself is understood and how things are viewed, Provide a clue through the visual language of art to discuss the history of photographers and the reimagination of portraits and bodies, a state in which modern humans lose their flesh, turning photos into a growing and fading life form.

Circus, photos, mix media, 170x106cm


Females, photos, mix media, 70x50cm


Historical photographs and photographs are qualitatively altered in their material (Fading, yellowing and traces of use) Such an evidence of use shapes a physical temporality and its fading, In the process of seeing, the viewer can also feel the spiritual time between photos and personal feelings (a perceptual space that I imagined through the past). In the degradation of the image, I converted this temporality into a digit code,  like the noise generated by analogue output due to abnormal signal or poor reception or an abstract structure that appears because of an electronic failure, which constructs a new image with pictures and signals that are merged together and difficult to recognize.

In the process of photo deconstruction, it reflects my thinking about the image itself, the process of deconstruction is actually flowed and cannot be completely separated from the subject. How to make this abstract emotional trait into a transformation becoming the most exciting part of ay works, The deconstructed text becomes a visual mark, Dialogue through the arrangement of colours and structures and the photos on the first layer, the manuscript becomes the line to serve the picture, And in this stage, the paper with the text is a three-dimensional object witch its visual rhythm is generated in the structure of the interactive stack

A lover’s discourse, photos, mix media 160x106cm, 2019

Roland Barthes: A Lover’s Discourse, As the text of this work, the entire article was structured by me (paper is cut into different sizes and irregularly placed in a transparent grid structure) deconstructed text in it represents an unencoded message, (the original sentence was divided into different fragments and placed irregularly together) this reproduced information constructs a personal and independent semantic interpretation, although it was originally written, it cannot be read in this work. 

The meaning of the text itself is absent in this arrangement. For the writing of a pair of lovers, I try to think about the abstractness of the emotion itself and the unexplained qualities, and how to transform this abstract emotional trait has become the most interesting part of the work. The deconstructed text has become a visual mark. Through the arrangement and combination of colour and structure, it has a dialogue with the first layer of photos, the text in it becomes the lines of the service screen, and the paper carrying the text becomes a three-dimensional object, which generates some visual rhythm in the interactive stacking structure.

A Child, photos, mix media, 50x190cm, 2019

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