Artha, 2024, Three Channel Projection Installation (Photo: Wenxuan Wang)
Artha, that renders and reinterprets key moments from Andrei Tarkovsky and Werner Herzog’s films. The left channel draws on Tarkovsky’s Stalker, depicting surreal, desolate landscapes that represent the invisible boundaries of exile. The animation mirrors the stillness and ambiguity of the Zone, presenting a terrain where past and present intersect in a space defined by both hope and despair.
The right channel reimagines Herzog’s Auguirre, the Wrath of God, transforming its relentless river journey into a chaotic, dreamlike flow. The animation reflects the historical struggles of displaced peoples navigating colonial violence, framing Aguirre’s doomed quest as a metaphor for exile, ambition, and loss. The centre channel sees displacement as no longer tied to any specific geography but as a universal, fluid condition. It reflects the internal experience of diaspora - fragmentation, memory, and the search for belonging in an unfamiliar world.
The darkened gallery not only resembles the room in Stalker - a space of yearning and unfulfilled desires - but, through the acoustic insulation lining the gallery floor, absorbs footsteps and amplifies a pervasive sense of solitude, or the psychological weight of diasporic experience, as if the room itself holds the accumulated memories and silenced histories of those in exile.
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Séance II: The Arrival of a Train to Orson Welles, 2024, lecture performance with moving image installation
A lecture-performance, I weave together rendered images and historical analysis to trace the evolution of stereoscopic imagery. A central element of the performance connects to Orson Welles’s unfinished epic, Don Quixote, highlighting the fragmented layers of lost and incomplete cinema. This work seeks to investigate the complex interplay of memory, myth, and the forgotten narratives within cinematic history.
Séance I: Bake Jizo, 2023, video
Through the process of re-reading the very beginning of Asia’s film history, we discover that the ghost has disappeared. Meanwhile, obsolete technologies have become dead media, and artists are tracing the ghostly illusion of the image from these obsolete technologies. By combining archives, video, and 3D rendering, artists attempt to explore the ambiguity of historical and material memories.
Séance IB: avatars, 2023, video
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Sekaikei, 2022, two channel video installation
Sekaikei, is a Japanese term, roughly meaning “the motif of the crisis of the world,” is a neologism referring to subcultural works of animation, manga, games and light novels on the combined theme of apocalyptic crisis and romance. It is a work examines the conception of Hiroki Azuma's "Database Animals" and Eiji Otsuka's "Grand Narrative", which responses “imagined communities” by Benedict Anderson. In a sense of contemporary exile/diaspora, probably there is no “nostalgia”, only have “nomadalgia”. Sekaikei is a work explore the “nomadalgia” in digital era and the uncertainty.
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Neither/Nor, 2021, video
"Neither/Nor" (previous title: Wandering With Spirit) is a crisis about identity. Virtual network created a borrowed place on borrowed time, to reveals the options unlocked by a state of ‘in-betweenness’ – in-between ethnicities, borders and hyperreality. Only through discovering the relational ties with places to identify the ‘situation’ we are drawn into and perceive our own ‘presence’. "Neither/Nor" is questioning the fragmentized narrative embedded through various types of reconnections.