luya wang
In between places

Thinking and making are indifferent within my embodied practices. It is primarily related to the everyday in aiming to bring life and art together. How to represent the philosophical concept of the durational time adapting everyday spaces? Thinking and making as part of everyday life, where do they stand concerning contemporary art?

In time and freewill, Henry Bergson(1910) indicated the relationship between time and space in a different perspective, in place how we would usually measure them together with a clock. In his opinion, ‘time cannot be measured, which the real duration permeated one another instead of lying side by side’. Yet, our body is space-occupied material, we are not restricted by one and eliminated by the other. We are a representation combining time and space, through our lives, are we be able to create things representing us?

Wang Guo Wei's (1908) elaboration of Jingjie translated as the world, which refers to the objective world and subjective emotions. Viewing objects through the self and viewing objects through objects is the method to Jingjie in traditional Chinese lyrics.

My practice-led research set to find Wang Guo Wei’s method of viewing objects through the self and viewing objects through objects to Henry Bergson's philosophical conception of duration. Could it be the way for me to represent duration, therefore to represent my life? Relating to intention and attention, from a motor habit of manufacture to an intuitive movement, to think and think again within a process of making, presenting and documenting the artwork, accommodating its’ change in thus stages, with an openness to what is unknown, regard art-making as part of my everyday life instead of separating the two. Therefore, art-making should be considered as same as any other time in the everyday, a flow with time.