Squandering for Beautiful Eyes (2017-2019)

乱花渐欲迷人眼 (2017-2019)

[Photography, Interactive Video, Installation]

::Interactive video::

::Photography::

::Interactive installation::

Keywords: Technology, Symbolization, Dynamic environment
关键词:技术,符号化,动态环境

In this set of the interaction moving images Squandering for Beautiful Eyes (2017-2019), the acceleration of the rotation of the image as the person approaches the fan image can be understood as an attitude towards the current environment – the authorities are obsessed.  The development of science and technology enables people to enjoy the convenience brought by high efficiency and bring a pleasant experience. At the same time, the confusing eyes make people unable to see the essence of things. It is like the early spring of wildflowers, which is open to the public, full of vitality and makes people fascinated but different forms make people dazzled. No one can judge whether it is better to be far away to stay awake, or to be closer to the beautiful illusion it brings, it depends on their own attitudes.

Squandering for Beautiful Eyes (2017-2019) includes installations, photographs, and interactive moving images three parts. The interactive moving images are developed from the photographs which took the series of installations made from lots of images with symbol properties. As time goes on, symbol meaning will show its complexity. The artist collected a large number of images with symbolic attributes that are common in daily life, and rearranged them according to their usefulness on the fan blades of the electric fan. When these fans are energized, the originally still symbolic image attached to the fan blade is transformed into an abstractly digital trace. The artist hopes that the symbolic objects or events will be presented in the development of contemporary people’s psychological uncertainty and emptiness in this rude way.

However, in the long historical timeline, the source of these digital traces has long been lost. A static symbol image is physically just an image. What is an object before it is converted into a symbol image? Why is this object still there? How many traces of a current object on the historical timeline?

在这组交互影像中,呈现在屏幕上的图像是斑斓绚丽的由数码图像拼接而成的图像, 随着人的靠近风扇图像的旋转随之加快,直到模糊看不清楚具体图案,这可以理解为身处当下环境当局者迷的状态。科技的发展能使人享受高效率带来的便利,带来愉快的体验。同时,迷惑人的双眼使人看不清事物的本质。犹如野花竞相开放的早春气象,充满生机使人为之着迷却又形态各异使人眼花缭乱。没有人可以判断是远观保持清醒更好,还是靠近它带来的美好假象更好,一切好坏都由自身的态度决定。

《乱花渐欲迷人眼》包含装置、摄影和交互影像三个部分,交互影像是这组摄影的延续,而这组摄影作品又从这一系列的装置作品中发展而来。随着时间的推移,物体的符号意义会呈现其复杂性。艺术家收集了大量生活中常见的具有符号属性的图像,根据不同它们的功用性重新排列起来贴在电风扇的扇叶上。当这些电风扇通电后,贴在扇叶上原本静止的符号图像就转化为了抽象动态的数码痕迹。艺术家希望可以通过这种粗暴的方式去讨论符号化的物体或事件在发展中呈现在当代人心理的不确定性和虚无性。然而,在漫长的历史时间线中,这些数码痕迹的源头早已无迹可寻。静态的符号图像本质上也只是图像,在物体或事件转化为符号图像之前,它是一个什么物件?这个物件又是为何而存在?一个当下的物件又集合了多少在历史时间线上的痕迹

然而,在漫长的历史时间线中,这些数码痕迹的源头早已无迹可寻。静态的符号图像本质上也只是图像,在物体或事件转化为符号图像之前,它是一个什么物件?这个物件又是为何而存在?一个当下的物件又集合了多少在历史时间线上的痕迹?