To briefly sum up, the essence of my creative work is based around writing, which in my eyes is closely intertwined with the idea of a "narrative". Using this method of "narrative", the themes which I am interested to discuss and work around, mainly tie in with individual experience and contemporary history. I use video, photography, sound, painting, and other media. I would like to elaborate further on the three works, which I have submitted:
“One Man's Island”, 2009-2010.
This work consists of 50 short videos, a collection of notes, including novels, diaries, literary sketches of over sixty thousand characters, and a few other bits and pieces. These written works and video performances which relate to the human body are mutually influenced by one another.
“From Where To Where”, 2010-ongoing.
This is an ongoing project consisting of an infinite number of wanderings spent walking from place to place. It is made up of video records, photography, notes and other materials documenting this journey.
The project first started as a reaction to the long working hours, which I spent confined to my studio. I wished to escape from this feeling of confinement and work towards a different kind of release, more in tune with reality, which is all part and parcel of the current shift in my creative process. I plan to make this a continuous project in the whole of my future creative work.
“Untitled” (“Performance with Performance”, “1988”, “Thug Life”), 2010-2012.
This video recording consists of three parts.
The first: "Performance with Performance", consists of very simple everyday movements of the body, my intention is to move away from staged or theatrical expression. In the previous project "One Man’s Island" this concept is that I am in the pursuit of poetic, literary narrative (including imagery, fantasy, and ambiguity) relating to reaction. At fixed times I will do a few pre-arranged movements before the video camera, and spend a long time accumulating material. There is no particular link between these scattered performances, nor do they necessarily have to give rise to another state of "awareness". The “time frame” they form together is not worthy of consideration either. However, if we must emphasize a feeling associated with time, the feeling I would pick is "sleepy" or “drowsy”. The first word which jumps to mind is when "going theatrical" it brings us one step closer to understanding it as a kind of idle, boring blank space. Boredom here is by no means part of an emotive vocabulary, it only emphasises this attempt to accomplish absolutely nothing: there are neither any prior expectations, nor any hopes to make money out of this. When shooting my videos, I use ‘keying’ process, hoping that the image interference arising from the performance is so great, that it only leaves a monochromatic silhouette behind.
The second of three parts, is called "Thug Life". It runs at the the same time as I am writing a novel, telling the story of an imaginary violent film, including countless elaborate descriptions of violence. Understandably, I hope that going through these sensitive allusions to the scorching cycles of “violence” in history, will ultimately prove that it has failed and all been for nothing.
The final part of this project, "1988", is named after an old family photo taken in 1988, and relates both to the historical background of the time and personal memories. I used some documentary footage and news photos downloaded from the Internet, as well as some footage which I shot myself. The initial family photograph did not ultimately appear in the video, leaving only the number "1988" behind, and vague kind of idea.
I do not have a default form or script which I abide to when producing works. Within a short space of time, I try to find some sorts of hidden clues from very fragmented material and personal reflections. This particular method relates to the issues around the “sequencing” of images. In my creative work, “sequencing” should be understood as a certain number of units grouping together moving images. This “unit” is equivalent to a phrase, or a clause, it’s a kind of very limited writing exercise. How does one piece these very primitive sets of elements together, and also bring about a certain transformation. I would say one particular result of this transformation is this feeling of “plurality”. I struggle to find a method which is in line with the logic of the image, because I want to process these things from a completely different angle. However, they each have their reasons to be accommodated into the artwork.