九,nine

“九” 2017, performance. 

This is a performance piece dealing with the Idea of the unattainable comfort. In Buddhist philosophy, suffering is caused by carving. As mortals, we are all slaves of desires for love, happiness, and prosperity. We are tied up and driven by our desires. We chase and chase, suffer and suffer, believing that the ultimate satisfaction is right under our nose; however, our infinite desires forbid us from reaching it. The more we struggle, the more we realize that our greed consumes us. The absolute comfort is unattainable but forever part of us. As if we cannot see our unconsciousness, but it is always in our mind. We cannot chase after our desires, because our desires are in us rather than in the material world. To stop the chasing, we shall make peace with our greed, rather than enslaved by it. 

Summer landscapes

“Summer landscapes” 2017, oil on canvas, 18×24”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

home sweet home

“home sweet home” 2017, video. 

“home sweet home” is a video sketch I did in 2017. The video set is a three-dimensional painting made from an amazon cardboard box with hand-made objects. The video is a little story about a man coming home late and drunk, showing the trifles within a domestic setting.
The video set is a three-dimensional painting made from an amazon cardboard box with hand-made objects. The objects, such as squatting toilet, celebrity posters, metal bunk-bed, fake Paul Frank bed sheets, Tweety bird curtains are made to capture the living space of the Chinese working class in the early 2000s, under the influence of western media and imported goods.

 

 

 

 

 

 

 

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Red House

 “Red House” 2017, Installation.

This piece is a moody light installation describing the emotion of loss of innocence. The installation is composed of three major components: a swing, a painting, and red light bulbs. The setting gives a sense of as a leftover crime scene. As the viewers move through space, the painting with three strong red bulbs firstly come to their notice. Then as the viewers turn back around, they discover the tiny blood stain on the wrinkled floral cushion. The swing ropes, tied in hangman noose, along with the bleed stain, create an uncanny however melancholy atmosphere. Looking back at the painting on the wall, soft velvet is forced onto rough concrete; under the intense red light, the distinct contrast between the two materials are exploding to the maximum of discomfort. The haunting essence of the installation tells the story of young girls growing up in the shadows of perverts, rapists, and toxic masculinity.