SOLO EXHIBITION"ITS ALL TRUE,MAN"
LAST JUDGEMENT
在所有的前现代文明中，“神”都旨在委托“使者”行使权力、汇聚信徒、展现神迹，神在复杂的仪式传递中常变得迷幻而诡谲。今天的互联网媒介高度发达，毫秒级的信息传播，几乎重新唤醒了所有令人着迷的信仰经验，神的意志在算法的加持下，不断从互联网的“无主之地”中显灵。此番“真实之羽的重量”将互联网中的社会景观笼罩在神秘主义的“不可见”之中，带来强烈的压迫感和信仰之力，“造神”成为当今媒体奇景的力量源泉，网络向“媒体之神”提供了有史以来数量最为庞大的数字信徒，虚拟媒体的造神运动消解了现实世界话语权的扩张，却以另一种姿态登上舞台，真实正因神的不可接近性而变的越发遥远。被精心设计的自我意识和加工过后的二手信息，充斥在每一个缝隙。
The artist tries to describe the master-slave relationship between individuals and authorities in the post-network society by constructing a "pan-mystical" myth system. The exhibition revolves around the video "Ship of Fools", and each work contains the interweaving of emotion and will, the entanglement of authority and love in "Madness and Civilization". "In the belly of civilization is madness, and the crown of madness is civilization." These non-binary ambiguities are the most common expressions of artists.
THE SHIP OF FOOLS
影像装置
8’23’’ 2022 2560X1600
创作延续对于“失控的人性”的痴迷，以传播学为基础，用带有宗教色彩的眼光重新审视网络来临之后的新社会，“愚人船”的意向起源自塞巴斯蒂安·布兰特于1494年在巴塞尔所出版的讽刺诗。而愚人船这一意向则在不同时代下呈现出流动的象征意义，比起“诺亚方舟” 那艘被视作未来与希望的船只，“愚人船”更像是一种暧昧的过渡，在话语权与规则之下被驱逐的“异端”，“愚人之船”想讲述的是网络社会中媒体、话语权与真相之间所存在的微妙关系，网络环境中存在的对“个人”的神化（Cult of personality）或是被崇拜者利用媒体而巩固和扩张自身话语权的，类似狩猎的行为。在这样的环境下真相也就随之越来越远，甚至处于“拟态环境”中的我们真相本身已变得次要。“造神”本身就源于西方中世纪基督教的神学美学，因此在片中也大量的“基督教”元素象征当今时代下的“新神学”。
Continuing the obsession with “humanity out of control” and based on the science of communication, the work takes a religious look at the post-Internet society. "Ship of Fools" originates from the satirical poem published by Sebastian Brandt in Basel in 1494. The metaphors of the “ship of fools” presents fluid symbolism in different times. Unlike Noah’s Ark which is seen as a vessel of future and hope, the “ship of fools” is more of an ambiguous transition, the “heretic” expelled under discourse and regulations. “The Ship of Fools” attempts to talk about the delicate relationship between media, discourse, and truth in online societies. the deification of individuals (cult of personality) made it so that ones at the center of worship can use media to consolidate and expand their own voices, creating a process almost like hunting. In this kind of environment, we are getting further and further away from truth. Truth itself might have become less important for us existing in “Pseudo-environment”. Since the act of “God-making” comes from western theological aesthetics of medieval Christianity, the large number of Christian elements in the video symbolizes a kind of “new theology”
MIRROR
愚人之境
SCULPTRUE 雕塑
2022 34X34
5+2AP
3D打印+综合材料+丙烯
Chastity
画像
数字版画
2022 50X70
5+1AP
3D打印+综合材料+丙烯+手工编织
HEDINIA
在福柯的”疯癫与文明“中曾将“Hedonia“称为奢靡的女神，蓝皮肤的主人公是艺术家对自己童年的画像，长大后的她常常被“你是谁”这样的问题所困惑。她身着华丽，身上挂满被装饰华美的枷锁，就像每一个对女孩提出的道德规训一般，包裹着她，她也是一位愚人，作品中的Hedonia拿着一面镜子与自己的画像遥遥相对，通过镜子这一意象向自我发出提问”Who are U“。
In Foucault's "Madness and Civilization", "Hedonia" was called the goddess of extravagance. The blue-skinned protagonist is the artist's portrait of her childhood. When she grows up, she is often confused by questions like "who are you?" . She is gorgeously dressed, covered with beautifully decorated shackles, like every moral discipline put forward for girls, wrapping her, she is also a fool, Hedonia in the work is holding a mirror far away from her portrait On the contrary, the question "Who are U" is sent to the self through the image of the mirror.
TOWER
塔，自上而下
树脂雕塑
2022 60cm
5+2AP
3D打印+喷漆
GREEDY AND MERCY
数字版画
2022 70X100
5+1AP
木架+铝塑板喷绘+丙烯
The Poetry of the brave
颂歌
屏风
2022 55X180
3+1AP
综合材料
该系列则是根植于后人类时代人类文明的新形态，画面中的主人公抛弃性别中固化的刻板印象和社会赋予的人格属性，呈现作为“人”本身的品质，以所有人勇敢和坚强，展示后人类时期新的神性与处世方式。
This series is a new form of human civilization rooted in the post-human era. The protagonists in the screen abandon the stereotypes solidified in gender and the personality attributes endowed by society, presenting the quality of being a "human being" themselves, showing the bravery and strength of all people. The new divinity and way of life in the post-human era.
CHAOS 混沌
数字版画
2022 70X100
5+1AP
3D打印+铝塑板喷绘
+丙烯
At the beginning of the world,
Order emerges from chaos.
HUMULITY AND ARROGANCE
在十二对范畴系列的每张画中几乎都可以看见巨大的与画中其他人物不成比例的身体部位，这些庞大的身体对于每一个个体来说都是神秘又具有压迫性的存在，他们用好看的配饰装点出华丽的谎言。
Huge body parts that are out of proportion to other characters in the paintings can be seen in almost every painting in the series of twelve pairs of categories. These huge bodies are mysterious and oppressive existences for each individual. They use Good-looking accessories decorate a gorgeous lie.
真实之羽的重量
展览现场
LAST JUDGEMENT
In all pre-modern civilizations, "gods" aim to entrust "messenger" to exercise power, gather believers, and perform miracles. Gods often become psychedelic and treacherous in the delivery of complex rituals. Today's Internet media is highly developed, and the millisecond-level information dissemination has almost reawakened all fascinating belief experiences. With the blessing of algorithms, God's will continues to appear from the "no man's land" of the Internet. This "weight of the feather of truth" shrouds the social landscape on the Internet in the "invisibility" of mysticism, bringing a strong sense of oppression and the power of faith, and "creating gods" has become the source of power for today's media spectacle , the Internet has provided the "media god" with the largest number of digital believers in history. The god-making movement of virtual media has dispelled the expansion of discourse power in the real world, but it has appeared on the stage with another attitude. The truth is that God is unstoppable. Proximity becomes farther and farther away. Carefully designed self-awareness and processed second-hand information fill every crevice.