“From Moon to Moon”

I have always loved the moon.

I always feel that the moon can sense me, just as I understand her.

Moonlight is silky, gentle and close, capable of smoothing out all the wrinkles.

She appears on nights as clear as threads, as if knowing that lonely souls need her beneath the pale starry sky.

When you ask, "Are you there? Are you there?"

She always answers, "I am here, I am here, behind the clouds, in the mist, I am always here."

But this time, I want to express another side of the moon.

When she jumps into the water and plays with the fishes.

When she admires the frogs swimming while lying beside the lotus leaves.

When she hides in the grass and observes the fireflies' chase.

When she slowly guides the encounters in the course of fate. Mischievous, warm, lively, and playful, those moments.

In exploring art, I am filled with a spirit of exploration towards ink painting, an art form that holds immense potential. I am dedicated to breaking through tradition and fostering dialogue and connection between traditional and contemporary artistic language. After several explorations focused on ink painting materials and mediums, I am approaching the narrative methods of ink painting and attempting to create differently from heritage.

The traditional narrative technique of ink painting, such as Gu Kaizhi's "Illustrations of the Goddess of the Luo River" (Eastern Jin Dynasty), is widely known. It is a linear depiction that unfolds the plot gradually in a continuous manner, progressing through time, presenting the story scene by scene, with landscapes acting as dividers between each episode, creating a cinematic feeling. It seems that the narrative technique of ink painting from over a thousand years ago bears great similarities to contemporary art, which interests me.

Taking the artwork "Echo" in this project as an example, by utilizing multiple folded rice paper pages to achieve a scroll-like format, I inject scenes of the story into each fold, progressing the "telling of a story" with the advancement of the pages. Each frame is independent with clear divisions, while the coherence of the booklet pages creates a sense of montage, leading you to focus and follow the protagonist. You will no longer be certain whether it is the protagonist moving between the pages or your perspective shifting. I hope this experimental narrative approach can tell a more concise, direct, and suitable story for contemporary appreciation.

 

关于主题

一直很喜欢月亮。

我总觉得月亮能感受我，一如我感受她。

月华如绸，她是靠近的、柔美的，可以铺平一切褶皱的。

她出现在如练的夜晚，仿佛知道淡夜星空下，孤寂的人们，需要她。

当你问，你在吗你在吗？

她总会回答，我在的我在的，在云后，在雾里，我总是在的。

但是这一次，我想表达月亮的另一面。

当她跳到水里和鱼儿嬉戏时。

当她躺在荷叶边欣赏蛙儿的泳姿时。

当她躲在草丛里窥探萤火虫的追逐时。

当她慢慢引导命运中的邂逅产生时。

俏皮的、温暖的、活泼的、灵动的，那些瞬间。

 

关于创作模式

在艺术的探讨中，我对水墨画这门蕴含巨大潜能的艺术门类充满了探索的精神，致力于突破传统，让传统的艺术语言与当代的艺术语言进行对话和连接。经过前几次着力于水墨画材料的探索后，这一次我从水墨画的叙事方法着手，尝试以不同于传统的方式进行创作。传统水墨画的长卷叙事手法广为人知，比如顾恺之的《洛神赋图》（东晋），它是一种贯穿线性的描绘方式，以时间推进的连续方式，缓缓展开情节，将故事分为一幕幕呈现，每一个情节之间以山水作为隔断，产生类似电影的观感。这么一说，似乎一千多年前水墨画的叙事手法便与当代有极大的相似之处，这正是我的兴趣点。以这次作品中的《回应》作为例子，透过多折生宣册页的使用以达到类似长卷的方式，我将一幕幕情节分别注入每一折页中，随着页面的推进“讲一个故事”。每一帧画面是独立的，有明显的分割，而册子页面的连贯则产生一种连环画的蒙太奇观感，带动你聚焦并跟随主人公。此时你将不再确定，到底是主人公在册页之间游动，抑或是你的镜头在移动。期望这次尝试的叙事方式，能讲好一个更简约直接，更适合当代观赏的故事。