Consisting of four planes of windows inside a bus, it is a nonfiction edited from the original footage that brings the audience from one end to another of the Michigan Avenue in Chicago. It is built upon the daily bus ride from home to school and back again, from north to south and back again; a meaningless transition so meagre in labor and effort that it can hardly be called a "journey". But imagination and memory find their way through the minutest cracks in reality, and start to rebel against its limitation.
2015, single channel video (b&w, color, 5.1 sound), 22:00
By The Way was installed with a series of photo prints as one of the main piece of Uneventful Duration, a solo exhibition held at Miyako Yoshinaga Gallery, New York. To express the manipulation of time to the fullest, the video and photos were being placed side by side on the walls of the gallery to juxtapose the constant movement with the unmovable.
Single channel video, stereo-sound, 5 minutes 37 seconds, 2014
Time is an ideal measuring tool. It is, as Virginia Woolf describes, a “leaden circle dissolved in the air” – the hours and minutes facilitate the organization in lives, but lives do not perish without such reference. Our perception of time changes despite the orderly ticking of the clock, that is why people said when they are happy or in love, they rarely notice the passing moments; or when it is Monday, time seems to be delusively slower than when it was Friday, even though these two days are both, ideally, 24 hours.
Two channels video, 3840 x 1080, 12 minutes 8 seconds, 2014
In the video there is a creation of time. The indoor room with the constant artificial light replaces the shifting natural light, and hence the still environment of the room becomes an ideal area to hypothesize the absence of time. The presence of time is purely indicated by motions, by the movements of the person in the video, and the traces of every object she brings along.
Each individual sequence, from the moment the person enters the room, seems to construct a story line, but when multiple sequences are overlapped time is no longer measured by the sequence. The image looks messy and chaotic with the combination of happenings, even though they are arranged according to the calculated, programmed seconds.
We rely on the motions to indicate time, but they also seem to have destroyed or disrupted it. This is because we are accustomed to the time concept we normally have that its order is more familiar to us than the new order in the video, and, vice versa, from the messy surface of the new order, we are more aware of the rhythm of our (old or) current order of time.
Single channel video, 3 minutes 53 seconds, 2014
Two projectors video installation, 8 minutes, no sound, live recording, 2014
Two identical projectors with different elevations projecting the same monochromatic and complementary images on one of the walls of an enclosed area. The two projections, when put together, become one complete state.
One projection implements horizontal and vertical stretches and rotations, which continue to change in size and speed, while the other projection generates a motion that is fully complementary to its counterpart. (In an ideal situation, the two of them would present as one reposing, bright image.)
When a person enters the space, his body blocks the lights from the two projectors and hence creates two distinctively sized and situated shadows on one complete -- and once reposing -- image. The completeness of the image is disrupted by the body shadows, and the two shadows, which come from the same body, are disrupted by the projections. The person is placed on an area of multiple dual destruction.
Multiple channels video installation, 10 minutes 31 seconds, 2014
(Working in progress)
