失向与找寻Disoriented and Seeking

“ ‘那里曾经是怎样的？’我已经忘了我的城市是怎样的了，借由他们的描述，去找回记忆中的广州。很可怕的是，当一片新的楼建起来，随着时间流逝，我们就忘记了原来的面貌了。需要与他人共同记忆，借他人之口，找到灵魂寄托的彼岸，寻找缺失的土壤。”作品从这一感性发问入手，运用三屏影像联播的方式，将实在界、想象界、象征界交织起来，用声音、文本、图像进行互文，进入一种寻找的视角，试图抓住一些在现代化进程中逝去的影子。左右两屏中被定格的时间、场景、人、事物，以及描绘的精神交流场域，以回溯式的胶片放映形式，呈现出一些碎片化的图像信息。中屏里快速流动的现代化景观与怡然的本地生活，形成对冲。当这些去意义的图像与场景中人物精神的场域叠加，并伴随着那些被分解出来的时间和空间的听觉图像时，存在与不存在、间隙间的时间与不确定的场景，产生出时间、空间及自我之间的交叉投射。当观者伫立于作品前那一刻起，便已落入这个实在而不存在时空的漩涡当中，我们的命运便已紧紧联系在一起……

"'what was there like before?' I have forgotten what my city is like, through their description, to find the memory of Guangzhou. The terrible thing is that when a new building is built, with the passage of time, we forget the original appearance. We need to share memory with others, borrow the mouth of others, find the other side of the sustenance of the soul, and find the missing soil. " Starting with this perceptual question, the work uses the way of three-screen video broadcast to interweave the real world, the imaginary world and the symbolic boundary, intertextualize with sound, text and image, and enter a perspective of search. trying to catch some shadows that have passed away in the process of modernization. The fixed time, scene, people, things, and the spiritual communication field depicted in the left and right screens present some fragmented image information in the form of retrospective film projection. The fast-moving modern landscape in the middle screen is a hedge against the local life of Yiran. When these demeaningful images are superimposed with the field of the spirit of the characters in the scene, and accompanied by the auditory images of time and space that have been decomposed, there is and does not exist, the gap between time and uncertain scenes, resulting in a cross projection of time, space and self. When the viewer stands in front of the work, he has fallen into this real but non-existent whirlpool of time and space, and our destinies have been closely linked.