- Resolved artworks in unit1
Not finish yet
150x150x3.6cm,Acrylic on canvas,2024
Don’t agree switch
150x200x3.6cm,Acrylic on canvas,2024
Don't be angry，he's on his way
20×30×3 cm,Acrlic on canvas,2024
Told You Good Night
120x150x3.6cm,Acrylic on canvas,2025
- Process
1. Image Selection and Database Establishment
As a millennial, screens have been an integral part of my conscious life, thus my logic for selecting images is deeply rooted in an extensive screen-based experience. This includes, but is not limited to, "games," "memes," "emoticons," "trending events," "movies," "emojis," "textual symbols," and "Japanese manga." I maintain a high sensitivity to images with significant popularity in daily life, embedding the habit of image collection into my routine use of electronic devices. This results in the creation of a database of images selected under the rules of ‘simulacra’.
Selected Image Materials
2. Reconstruction and Integration of Images
For each image, I analyze and further select based on functionality, recognizability, popularity, and narrative potential. I then adjust the image's impact by modifying scale, color balance, and resolution. Finally, I organically grafted images from different contexts（lieux） but within the same narrative thread to create mini-events.
image grafting
3. Crafting the Narrative Structure and Linking Events
Among various narrative structures, my research has revealed that the composition of Japanese manga is uniquely capable of amplifying narrative energy beyond that of video narrativity. I draw inspiration from the layout structure of meme culture, film, and Japanese manga to link, segment, and juxtapose these mini-events, ultimately generating the final image.
reference by Japanese manga ‘Berserk’
(It is worth noting that in my conception, all elements within the narrative image structures I produce are interchangeable; thus, it is common for drafts to differ significantly from the final output. However, the overarching structure remains consistent, and this does not affect the narrative energy, highlighting the unique aspect of hyper-narrative structures.)
- MATERIALS
I employ acrylic paint and an airbrush as my primary painting materials, using exhibition wood frames with a thickness of 3.6 cm and French fine-textured rain canvas for the frames. In my use of acrylic, I incorporate both basic and fluorescent colors. I believe that for the reproduction of images translated from screens, the use of an airbrush in combination with fluorescent acrylic paint can vividly demonstrate the desired effects.
Throughout my extensive material experimentation, I have worked with oils, acrylics, charcoal, markers, ink, watercolor, screen printing, etching, film, and oil pastels. Upon delving into airbrush painting, I experienced a significant connection with this medium. I believe my long-standing and diverse screen experience has led to my deep appreciation for the airbrush, which is particularly well-suited for screen translation, and thus, I continue to use it for painting.