THINK AFTER YOU FEEL 愛

The core of my practice is time.

My diary, in whatever form of words or images, is the portal for me to connect to the moments that I might have forgotten. I figured that memory is not what we usually think about time, which has a past, a present and a future. Memory is always here with me; memory is always present. I am simply forgetful and unaware of its presence.

This is one of the key ideas that make me rethink about history. In broad meaning, history is memory. But who is remembering the history? And who is sharing around or passing down the memories?

 

What represents all and allows us to share memory is language. When the world is filled with information, language can also be in the form of colour, shape and material. Audio or visual, language can pull anything together into a mixture of impressions and feelings. What can this powerful conceptual barrier take form in art? If I were choosing my tongue language for a work, how would people from other backgrounds understand it?

 

Through the visuals that we call ordinary moment, in the form of photograph, moving image and other media, personal understanding is the invisible boundary that separate myself from any groups, and the same thing happens on everyone. To create or eliminate a sense of community, we only need to talk about memories. I later realized that I have been trying to contextualize the influence of narrative. Accordingly, I use the term ‘world-building’ from video games to anchor my research. Magical or mathematical? Peaceful or violent? How do you describe the world? Which world do you live in? Is it the same as my world?

 

Some people might say that ‘God is the smallest particle to the world’. However, I discover that memory is the smallest particle to the world. Everyone is the embodiment of all the memories they have.