The Return of Ghosts

The appearance of the ghost is the threat and approach of the other in the form of death

A play within a play

When we see the text, our first action is not to comprehend as a symbol or a trace, because in daily activities we have been dominated by the text and writing through it, we are used to seeing. Therefore the first action of the text is to read and understand; the image itself is also the same. When we look at the mobile phone, we are like sliding a river full of text and pictures, always finding links and narratives in it, in a very passive but intuitive reading habit.

All the accidental engagement of photos were taking place, occurring a special meaning. Picture itself always been delivering and written, losing its identity and the right to speak, within these historical portraits and spectacle. I try to combine with people and human activities which don’t have any relation, producing an individual story, by given a diversion of identification, therefore making up these character’s alternative memory (scenario).

In a series of images which considered be a form of a memorandum,  any methods to reinforce memory, a paper interpreted all the incident which relate to the subject. Groups photographed in different years, and the people been picture did not realize they were left behind by history, and now perceived by guessing and imagining from the past. This image provides visual information, but it also hints at the “spectralized” spectralization of the characters in the scene frame. The word “spectacular” comes from the book “La Chambre Claire” written by Roland Bart in the late 1970s. The negative role of is the absence of the subject, and the viewer can feel the call of the deceased more strongly in watching.

Memorandum Of Repetitive Beauty (part), Iron frame, plastic, paper, mix media, 2019

In this arrangement, the image is continuously losing its original function and becomes another fact, which summons a daily structure that is broken and disconnected from space and time, a diary of human activity in time, and characters are assigned to different roles, and statuses begin to change in the audience’s understanding. Still, these characters will not disappear due to their absence, and they will engage in a dialogue with the present in an almost ghostly and lingering manner.

Memorandum Of Repetitive Beauty, Iron frame, plastic, paper, mix media, 2019

Deconstructivist Jacques Derrida mentioned in his spectropolitics chapter of the “Specters of Marx “book such a state that is difficult to get rid of and does not need to get rid of. It also serves as the imperative of return, With regard to tomorrow, the past, present, and future are condensed in this time out of joint. According to this, the history and emotions photos will not end but will linger around us in the form of many ghosts.

The combination of the frame and the plane installation is an extension of the auxiliary space, creating physical support from the wall and the ground. Pointing out a double or even multiple narrative structures and builds a tree-like network from photos and photos. It can be understood as a structure of a building, or the support of an advertising signboard, the arrangement and combination of a face and a line. The line (frame) extends or passes through the structure of the image. It can help the viewer to memorize and connect the diagram — information and symbols between images.


Colour is the most visually dynamic subject in work which processed colour becomes a visual square of different sizes in the photo. Some colour blocks will reveal the bottom picture. Some completely erase the image itself, and the action of cutting the image in different states gives the photo a flowing motivation and interest, becoming one by one visual noise, and a qualitative change in the image processing process.


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