The Lasting Future originates from the first sentence of the novel,
The World Without Us
, written by Alan Weisman. As the sentence goes: With lasting love, from a world without you. “The future” is uncertain. Only by becoming an uncertain existence, can it become an expected and realistic “future”. The connotation behind the semantic meaning of “lasting” is the metaphor of unchanged essence. Once defined by “lasting”, the “future” will instantly become the unspeakable fantasy, and the essence of “world” exceeded our understanding. Thus, we are isolated from the truth.
部分展出现场之一part of the installation
2018集美 · 阿尔勒国际摄影季展出场 · Exhibited in Jimei×Arles International Photo Festival 2018
“A wall of green plants composes a vigor green image. The tidy and indifferent city is mirrored in the one-way glass of a high-rise building. There seems an unknown eye is gazing at it. Next to it are the still-frame images of several artifacts (like air-vent, air conditioning and wall tiles), piled under the ongoing video showing nature. This work construct an intertextual world that is similar but different from the real world, causing a kind of estrangement to the daily spectacle.” --- Axis Art Project
共同异化·无机与有机·Common and Alienation · Inorganic and Organic
Part of the video in the installation showed above from "The Lasting Future" project
The visual fragments appearing in the work are the objective representations of common elements in the artificial spectacle, that is, the “artifacts” that often appear in modern cities but are easily ignored. For example, the capacitance of the external unit of a central air-conditioner outside the mall, a ceiling in an office building, a clean air outlet of a building that has just been built, and so on. After taking a lot of pictures of them, when picking and processing the image for presenting, I remove all the elements that will generate additional information and remove all the background information including the region, culture, politics and etc. I hope that viewers in different cities and of different identities can experience the strangeness of everyday spectacle from these simplified visual fragments.
In the exhibition venue, in addition to the output of the still-frame image, there is also a material object, the ceiling of an office building, vividly presenting the intertextuality between “reality” and “reproduction”.
The green plant images directly overspread on the wall, as well as the dynamic images of the plants appearing in the video, are taken from plants that live in the cracks of the city, which reveals the information of constrained by artificial scenes behind the seemingly wild growth. When exhibited, the output of the plant image is overspread the entire wall. The tidy and indifferent urban high-rise buildings, which are alway appearing as the protagonist in real world, are replaced by a mirror image with slow angular variation and mounted in the corners of barbaric growing plant wall. The corresponding work here is a field in which human beings, as the subject, are missing. It is a provocation to the real existence of subject.
In order to avoid leave the viewers a gloomy impression, I choose to shoot these plants in the high moon when the light is the brightest direct sunlight. The viewer is presented with a set of visually bright combination scenes. The viewers could feel image without having to fully understand the meaning or background of each image. Although it is a bright scene, the views may faintly feel a kind of unspeakable feeling of uneasiness that emerged from this constructed “world”. Likewise, I often feel that something is going to happen or is happening, which may be very important, but I can’t find them or change them. This is a sense of uneasiness about the “world” and I may feel a kind of hidden danger in the deep.