Shanshui System 202412
In this work, I translate my understanding and sensory experience into the composition of form and material, while deliberately preserving intuitive and unconscious elements that come during my making. This approach opens space for self-reflection, inviting viewers to unravel their own interpretations through the layers of perception and blank-leaving space. (See keywords map statement). Generating an interconnected echo between materiality, my own transformation, viewer engagement and their projected interpretations.
The work is presented as a scattered collective system. Same as the previous work, it follows a rhizomatic structure— non-hierarchical, fragmented but interconnected. I consciously explored the unique narrative of each material while forming new relationships with others, generating new stories and meanings. Also, the space itself becomes a key component in the work, where the material interacts with the environment to create a distinct locality that stimulates its Dasein (Existential idea of the being/Existence in relation to location by Heidegger).
The materials can be grouped into three general categories: natural, industrial, and self-created formative materials. Contradictions in the visual and tactile qualities of materials are used to provoke reflection on the relationship between nature and contemporary society. Rigid geometric frames symbolise structural rigidity, while flexible ropes and hand-sculpted porcelain evoke fluidity. Highlighting a pleasing sensation of natural, flexible. The tensions and contradictions between different materials form the philosophical relationship of mutual constraints, shifting meanings, mutual dissolving, and dynamic exchanges.
The lighting in the environment adds a visual dimension to the work, with shadows as a connecting element and reflections enhancing the material qualities-Light penetrates transparent pipes and refracts off steel surfaces…
