To all the dreams we could not be (我们错过的美梦)
‘To all the dreams we could not be’ investigates the regenerative quality of fantasy, its relationship to nostalgia as a
visualization of fantasized time through the materiality of crystallised resin and fabric, and its ability to conjure sensation.
The work explores the rekindling of memories of loss and its merger with fantasised time as a dream of what could have been.
Acting as a metaphor of the crystallisation of fantasised time, crystallisation is specifically chosen as a process and material
for its relationship to time and prolonged duration throughout its formation process. Resin is chosen as a material for
its long duration in drying, its relationship with the idea of prolonged waiting and time.
Comprising of sculptural forms that take the form of a tea set, watches and a cuckoo clock, they borrow forms from physical objects,
altering and merging fantasy, fiction and reality into ghostly figments devoid of physical function. The sculptural forms examine the
duality of beautification and lamentation of flights of fancy, drawing reference to its in-between state, between fantasised time
and memory. Containing overlapping details that form a crystallised labyrinth on the surface of the objects, the work probes into
the finality of a fantasised moment and the search for its permanence through the act of encapsulating its motion in time.
‘我们错过的美梦’ 是一系列雕塑,研究了幻想的再生特征。通过结晶、树脂和织物的物质性来展示对怀旧感与幻想时间之间的关系,
以及它能唤起的感觉能力。这部作品探索了对逝去记忆的重新点燃以及它与幻想时间的融合就像一个可能发生的梦。
作为幻想时间结晶的隐喻。结晶被特别选择作为一种过程和材料因为它与时间的关系和在其形成过程中延长的特续时间。选择树脂作为
材料是因为它在干燥过程中的时间长以及它的封装性,保鲜性,透明性,脆性以及从液体转为固体的能力。通过织物的使用,幻想时间
的脆弱和珍贵被象征为无常的象征。其结晶作为一种封装形式,它将水晶、树脂和织物之间的关系联系起来,暗示着梦幻中忧郁的短暂。
这些过程和材料通过我的时间碎片然后封装在其中,探索等待的物理行为及其隐喻性的碎片,构建了一种对持续时间的现象测量。
它们由茶具、手表和布谷鸟钟等雕塑形成组成,借用物体的形式,改变并融合幻想、虚构和现实,成为没有物理功能的幽灵般的虚构物。
雕塑形式检验了美化和幻想的悲叹二重性,引用了它的中间状态,幻想的时间和记亿之间的关系。作品包含了重叠的细节,在物体表面
形成了一个结晶迷宫,探索了一个幻想时刻的终结,并通过封装时间运动的行为来寻求其永恒。通过细节的重复和重叠来研究幻想的再
生特性。 这些细节代表了碎片化时间的封装,结晶成一个幻想的迷宫,具有空灵的空洞。通过重复和区别,这些细节与之前的作品既
有相似之处,也有不同之处。由于时间不断地向前移动,不能停留,它探索了一种无法完整重建过去的梦及记忆的能力。
visualization of fantasized time through the materiality of crystallised resin and fabric, and its ability to conjure sensation.
The work explores the rekindling of memories of loss and its merger with fantasised time as a dream of what could have been.
Acting as a metaphor of the crystallisation of fantasised time, crystallisation is specifically chosen as a process and material
for its relationship to time and prolonged duration throughout its formation process. Resin is chosen as a material for
its long duration in drying, its relationship with the idea of prolonged waiting and time.
Comprising of sculptural forms that take the form of a tea set, watches and a cuckoo clock, they borrow forms from physical objects,
altering and merging fantasy, fiction and reality into ghostly figments devoid of physical function. The sculptural forms examine the
duality of beautification and lamentation of flights of fancy, drawing reference to its in-between state, between fantasised time
and memory. Containing overlapping details that form a crystallised labyrinth on the surface of the objects, the work probes into
the finality of a fantasised moment and the search for its permanence through the act of encapsulating its motion in time.
‘我们错过的美梦’ 是一系列雕塑,研究了幻想的再生特征。通过结晶、树脂和织物的物质性来展示对怀旧感与幻想时间之间的关系,
以及它能唤起的感觉能力。这部作品探索了对逝去记忆的重新点燃以及它与幻想时间的融合就像一个可能发生的梦。
作为幻想时间结晶的隐喻。结晶被特别选择作为一种过程和材料因为它与时间的关系和在其形成过程中延长的特续时间。选择树脂作为
材料是因为它在干燥过程中的时间长以及它的封装性,保鲜性,透明性,脆性以及从液体转为固体的能力。通过织物的使用,幻想时间
的脆弱和珍贵被象征为无常的象征。其结晶作为一种封装形式,它将水晶、树脂和织物之间的关系联系起来,暗示着梦幻中忧郁的短暂。
这些过程和材料通过我的时间碎片然后封装在其中,探索等待的物理行为及其隐喻性的碎片,构建了一种对持续时间的现象测量。
它们由茶具、手表和布谷鸟钟等雕塑形成组成,借用物体的形式,改变并融合幻想、虚构和现实,成为没有物理功能的幽灵般的虚构物。
雕塑形式检验了美化和幻想的悲叹二重性,引用了它的中间状态,幻想的时间和记亿之间的关系。作品包含了重叠的细节,在物体表面
形成了一个结晶迷宫,探索了一个幻想时刻的终结,并通过封装时间运动的行为来寻求其永恒。通过细节的重复和重叠来研究幻想的再
生特性。 这些细节代表了碎片化时间的封装,结晶成一个幻想的迷宫,具有空灵的空洞。通过重复和区别,这些细节与之前的作品既
有相似之处,也有不同之处。由于时间不断地向前移动,不能停留,它探索了一种无法完整重建过去的梦及记忆的能力。