一山三木语

为什么人会有各种各种欲望?比如乘风归去?

老相册:

美人

1929年,Alfred Cheney Johnston摄

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微信公众号:老相册


老相册:

紫禁城

1984年,Thomas Hoepker摄

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微信公众号:老相册


失智井盖_:

一千个宇宙有一千个酒吞童子,我在这一千个世界里幻想关于他所有的可能。恶鬼还是英雄,喜怒哀乐中的哪一种姿态,在千分之一的某一个平行时空里,能看见他这样的身影。酒吞童子不完美,不论是差强人意的性情,还是追溯到古老传说里的形象,或者不满于他的结局。
所有最初的不满停留在初见,之后的了解与接近反倒带来疏远。愈是遥远就愈想探求更多,但实际上这距离感才让他于我有无限魅力。
在一千个宇宙里走了一千遭,最后的最后还是归于最初的原点宇宙。即使我是那其中九百九十九个世界里的至高神,也无能改变原点的一切轨迹。
因此,比起其他,我更愿意作为一个旁观与记录者,接受他的一切,包括他的命运。
——自白。

Sakuya:

Time/Frame final
"JUNCTION"


 

My Time/Frame final project is about the idea of dream and reality as well as how time performs differently in those two situations. I started doing these two parts separately and trying to make a contrast between, while as I progress through, I feel that dreams and reality are often merged together. This is to say that sometimes what happened in the dreams were too realistic and sometimes what I encountered in real life seemed like dreams. Hence, I did my images of both sides in an abstract way, and even for the ones that I started with realistic photos (water, flower, Times Square, etc.), I still altered them so that the audience could hardly tell the original content. By doing so, images of both sides look like a complete unity.

 

Another component of the installation is the images of texts. They are mostly uncompleted fragments that I heard in my dreams. With images and texts working together I wish to create a psychedelic feeling that’s chaotic and peaceful at the same time. This is about how time in my dreams is always still and how time in reality is rushing forward and never stops. The texts are not meant to be narrative or tell a story. Instead, they should work as signifiers and hints to only guide the audience through.

 

A brochure is designed as a compliment for the installation as well. The brochure is to guide the audience in an open way. Two poems from Fleurs du mal are included, so that the audience may interpret the project from another aspect. The brochure is designed to be small and short so that it doesn’t take over the installation. In contrast of what I have in the images (a range of colours) , the brochure is mostly in grey scale and consist mainly geometric elements. The brochure is designed to be placed on the table and the audience are welcomed to pick up and read as they wish.


 

In terms of printing and placing of images, I’m using Lustre since it is not too shiny or smooth that can hold the solidity of the images. The choice of presenting the works as physical copies rather than digitally also provides an actual object to look at and spend time with. To enhance the feeling of chaos vs. peace, I will start by doing a grid and move some of the images around so that it has a different logic. Again, the choice of printing the images out, though may result in losing parts of the details, adds extra texture to the original content, and that’s what I’m aiming for: a medium through which the audience can connect to the work.

 

 

 

I’m not targeting a specific segment of audience. Instead, the project is open for anyone to interpret. Therefore, I wish the project to be ambiguous overall and create an emotional echo.