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CRITICAL REFLECTION

My practice primarily involves the study of new narratives, specifically through the flexible use of high-recognition, multi-functional screen simulacra images to construct an organic hyper-narrative machine. 
Regarding the selection of images, I have expanded upon the concept of "simulacra" from the French philosopher "Jean Baudrillard" in his work "Simulacres et Simulation." According to Baudrillard, simulacra exist in three stages: the counterfeit stage, the production stage, and the simulation stage. In the first two stages, images and symbols represent a mimicry or reproduction of reality. However, in the third stage, symbols no longer have a real referent; they become self-sufficient systems, creating "hyperreality" where the traditional relationship between the real and the simulation is overturned, and the model constructs reality itself. Baudrillard uses the metaphor of a map and territory to explain this concept of simulacra, where the map (model) now generates the territory (reality). Additionally, Baudrillard borrows "Marshall McLuhan's" concept of implosion to describe the disappearance of meaning, the collapse of structures, and the blurring of boundaries between the real and the simulated in contemporary society.

I applying Baudrillard's theory of simulacra to image logic, emojis, memes, and game images mimic, replicate, and reconstruct real life, eventually detaching from their originals to form self-contained systems. Moreover, when certain popular images are used, discussed, and disseminated repeatedly, their value and function surpass those of the originals, leading to implosion and becoming hyperreal simulacra.

Based on this theory, my artworks consist entirely of images with simulacra functions, which possess the characteristics of organic narrative to some extent. For example, a famous confused cat meme might convey confusion feeling for younger audiences while appearing as just an ordinary white pet cat to older generations. Here, the multi-functional narrative of the image comes into play, altering its narrative based on the viewer's visual experience, which I believe has a decisive impact on narrative capability. In selecting materials, I strictly adhere to the principles of simulacra, screening images based on their popularity, spreadability, functionality, and hyperreality.

Concerning the structure of organic narrative grafting, I have extensively researched the narrative images of mainstream artists such as "Sun Yitian's" single-object narrative, "Issy Wood's" micro-narrative and non-linear narrative, and "Luc Tuymans's" linear narrative. I believe that narrativity is not contingent on the content or logic of the story. When the narrative content is relegated to the background, and the structure of the narrative achieves a certain form, while ensuring a certain balance between the sense of fragmentation between the images and the energy of the narrative., narrativity becomes a pure, autonomous entity, operating independently of "Roland Barthes's" five narrative codes and the logic of "the death of the author." 
To this end, I have drawn inspiration from the Chinese agricultural concept of ‘grafting‘, which involves fixing the bud or branch of one plant onto the root or stem of another to continue growth. In my work, I first categorize the selected simulacra images by narrative type, grouping images with similar narrative qualities together, despite their often vastly different styles. I then link them into small events, placing them within various narrative structures to generate an organic simulacra hyper-narrative machine.




The final images will exhibit a strong sense of fracture while simultaneously offering a traceable, latent narrative pathway, guiding viewers into the world of hyper-narrative. The version of the story depends on the viewer's visual experience, continuously generating and expanding, akin to the ongoing becoming of plural narratives in the context of "Gilles Deleuze."

Additionally, the term "machine" in the hyper-narrative machine originates from "Gilles Deleuze's" explanation of desire machines and narrative in "Anti-Oedipus." Deleuze posits that narrative can be seen as a "desire machine," creating meaning through the production of desire rather than fulfilling pre-existing desires. Narrative, therefore, becomes a productive process rather than simply reflecting or reproducing reality, which is why I believe the term "machine" aligns with the concept of hyper-narrative.

In my practice, screen elements cover all of my works, while I also meticulously select these captivating narrative images for organic reorganization. I believe the essence of the hyper-narrative machine lies in the relationship between the author or artist and the work or image. Traditionally, most narrative images maintain a latent master-servant relationship with their creators. However, I think hyper-narrative requires transforming this relationship into one of creator-organism, akin to Nüwa creating humans. Throughout this process, my role is merely to bring forth these life forms; the new images, like living organisms, establish connections with society. So far in my practice, I remain constantly vigilant about this relationship. If my personal narrative ideas become too involved in any stage—selection, representation, reorganization, or grafting—it could lead to a guided master-servant relationship chain in the work. Up to this point in my practice, I am unable to definitively determine if the core path to hyper-narrative is related to this relationship chain. Some works might have achieved the effect I envisioned, but I cannot exclude the possibility that these outcomes are influenced by formal effects.

It's worth noting that as the creator, I have been quite conflicted about naming my works. Through long-term practice, I have decided to name my works based on my understanding of the story as an observer. However, in future research, I aim to reduce my subjective influence on the work as an observer. Considering the evolution in the age of AI, I will contemplate incorporating AI's perspective on the narrative versions of my work, making the piece more akin to the existence of a machine.



Citations：

Baudrillard, J. (1981). Simulacres et Simulation. Paris: Galilée.
Barthes, R. (1970). S/Z. Paris: Seuil.
Deleuze, G. (1968). Différence et Répétition. Paris: Presses Universitaires de France.Deleuze, G. & Guattari, F. (1972). Anti-Oedipus: Capitalism and Schizophrenia. Paris: Les Éditions de Minuit.

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