Roaming is a project that discusses the new meaning of ‘reality’ endowed by the uncontrollable construction of technology.

In a rotation of constantly stacking and proliferating image data and individuals and the environment. The solid objects in the real world are entangled in technology and perceptual cognition. The cave of the images hides in everything, creating the contemporary living space in an uncertain status like plasticine. Browsing images are like roaming through the universe, difficult to distinguish between here and elsewhere, this moment and that time.

Both subjectivity and objectivity are simultaneously lost in the two-way relationship between the person and the photographed things. The cave of the image acts as a channel of seduction and traction, drawing the author to graft herself onto everything in sight, trying to find her position and identity in the journey of the images.

My creation flashback, 2020

Presently, the people's habitual way of information and image browsing is jumping rather than a straight-line and in-depth creative process, being multidimensional and multi-directional like the rabbit's digging of the hole or taking root of the tree. The emergence of contemporary images is inexplicable, people can't find the source of an image, and it has been copied excessively, like an ulcer that adheres the screen to hands or eyes. Meanwhile, space also produces conversion/adhesion, the information of the platform absorbs audiences feedback and keeps expanding, and everyone is in the image, but they can't see their complete appearances. We are constantly separated and connected.

In the process of creation, I mixed the topologies, holes, axes, points and surfaces, and applied such small units to piece together a journey of images in the virtual world, attempting to depict an uncertain state of entanglement between reality and digital images. The screen becomes the smallest and most useful medium, and it enables any tiny detail in daily life and social network to become the entry to the maze of cognitive illusion. I put the focus of my practice on visual perception, and hence the screen becomes an intermediary for creating and collecting footages. My perspective changes from reality to electronics and make me become the edge in the process of observation. By the creation, I raise a question: Are we being "happily" forgotten?

Mèngyì, the title is the Chinese pronunciation for the state of a baby talking in a dream.

Mèngyì is a re-writing of personal family snapshots, an attempt to revive the image. I imagine that looking at images is like riding a merry-go-round, and images are like triggers, dispatching a negative space filled with density，flavour of love and joys of childhood.

The image is a random generator of memory. Through constant repetition and superimposition, I simulate the continuous imprinting and wiping of memory on the wax plate in my mind, trying to see ghostly traces from a quick glimpse. Memory allows an endless flow of connections images, letting images dance like an ‘autonomic movement’, thus breaking away from the conventional impression of reading images and turning the viewer's eyes into a blood-driven camera.

My creation flashback, 2020

This is an exploration of some unspeakable life in the image.

The start of the research stems from a photo album of my childhood. I have already forgotten the story occurring in the image with the elapse of the time, so I will have an inexplicable sense of separation in the face of the photo, and it seems that half of me serves as the protagonist of the image and the other half of me suffers from the memory loss and tries to find slowly. This sense of separation as well as my reflection on the readability of daily visual contents became reasons that why I try to find the answer by re-compiling the archive by the image as the main practical method.

I show a process of 'constantly and repeatedly reading images' and treat it as the main content of creation, regard moving image as a medium, namely an ecosystem between the image and viewing behaviour, and try to give the view and viewed object a 'negative' way of communication, and have the sight immersed in "random motion" image. The viewing experience seems to sit on a merry-go-round, and the viewing state looks more like a harmonious dialogue while you view the image and start to dance: 'Telepathize' with the image. I think it may be closer to some kind of empathy produced by original image narrative or emotional fragments reproduced in the brain to describe new energies of images that are unspoken, abstract or fail to be seen at a glance more clearly.