Follow me:


Tracing (Chasing) Shadows within the Present Past





然后观众将进入作品的第二部分 —— 录像作品背后的房间。在让眼睛逐渐适应房间中的黑暗后,观众会看见在艺术家站在房间的尽头的白纸/荧幕前,而荧幕上投射的是此情此景的无限镜像,这既是房间另一端的投影仪所投射的画面,也是摄像机正在记录的画面。艺术家手持铅笔,试图将自身投射在纸上的运动轨迹留下印记 —— 一个无止尽的,并且不可能完成的行为。在房间的左右两侧的墙壁上贴满了大大小小的铅笔画,所有的绘画都是重复同样行为所留下的产物,而每一次的结果却不尽相同。在每一张绘画的下脚都记录着每次表演(录像过程)的时长,从几分钟到数个小时。


「Tracing (Chasing) Shadows within the Present Past」

2013, performance, video installation (7-inch monitor, wooden frame, projector, paper, pencils, video camera, drawings), dimensions variable


The work is divided into two parts, the video piece on the wall outside and the installation in the darkened space inside. 

In the first part on the outside space, the viewer will encounter a framed video screen that looks like a still image – a polaroid image of the oldest cave painting from 40800 years ago. During the duration of 6 minutes, the viewer would witness the development of the Polaroid image, appearing then disappearing, repeating endlessly. 

Then the viewer will enter the darkened space behind the framed picture, which is the second part of the installation. After certain amount of time of letting the eyes adjust to the darkness, the viewer will see the artist standing in front of a white paper at the end of the room, using a pencil tracing her own shadow within the endless reflection created by the projector and the camera. On the left and right hand sides of the room are drawings in different sizes, scattered on the wall. All of these drawings were created by the artist’s repetition of the same process, however in different spaces and under different psychological states. At the bottom of each piece states the duration of every performance, which varies from few minutes to almost an hour.