My practice involves constructing an organic hyper-narrative machine using simulacra images. Initially, I select highly recognizable and multifunctional screen simulacra images from internet culture, including but not limited to "video games," "memes," "trending events," "movies," "emojis," "text symbols," and "anime." Then, inspired by the concept of "grafting" from Chinese agriculture, I organically connect events from different contexts within the same narrative thread. Finally, I place these events within meticulously crafted narrative structures, creating a series of organic hyper-narrative images on canvas using acrylic paint and an airbrush. In my conceptual framework, most authors and images have a master-servant relationship, whereas my relationship with my work is more of a creator-organism dynamic. The stories I create do not belong to themselves; they are free organisms whose narratives and characteristics depend on the observer's visual experience of the images and narrative frameworks. Under this image logic, the narrative undergoes a radical transformation. I aim to lead images to break free from the constraints of narrative desire and structure, exploring and constructing the empire of the hyper-narrative machine.
- 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.
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.
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.
Luc Tuymans art work
Issy Wood art work
Luc Tuymans art work
Sun Yitian art work
Issy Wood art work
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."
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.
- 1-2-1 tutorial with "Geraint Evans"
On November 15, 2024, I engaged in a 1-2-1 tutorial with course leader "Geraint Evans" concerning my research, which proved to be immensely beneficial. During our session, we delved into my initial conceptual framework and ideas regarding my artistic trajectory. I introduced my approach to the logic of narrative and images, leading to an intense discussion and critical reflection on the implications of the images I had chosen for my work.
In my perspective, within the context of the post-screen era, highly popular and recognizable elements such as emojis, video games, meme culture, and cinematic snippets are imperative for representation on canvas. These elements significantly expand the visual unfamiliarity and stimulation of the artwork. However, "Geraint Evans" cautioned that careful consideration must be given to the underlying meanings of these images during selection, questioning whether their use might result in a superficial outcome.Subsequently, "Evans" addressed the mediums I employ, predominantly acrylic paint and an airbrush. He advised that I should reflect on whether the final presentation ought to possess a greater degree of painterliness. He noted that if some images serve merely as direct reproductions, they risk resembling screen prints rather than paintings. In this regard, he recommended "Isabelle Cook's" book titled For the Love of Paintings, which explores the nuanced relationship between airbrushing techniques and the essence of painting.The tutorial with "Geraint Evans" was highly enlightening, prompting me to undertake critical revisions in my subsequent explorations of painterliness and image selection in my work.
- Mark Fairnington Lecture
On January 15, 2025, I attended a lecture by Prof. "Mark Fairnington," a painter whose work has been extensively exhibited in museums and galleries across America and Europe. His research utilizes painting to maintain a visual inquiry into the varied collections and histories of museums. During the lecture, he discussed his research into insects and art, quoting from a book titled The Inner Life of Insects: "This insect does not belong to our world. It brings customs, morale, and psychological aspects that seem alien to our global sphere. Some might say it comes from another planet, more terrifying, more vibrant, more indifferent, more brutal, with a profound tranquility deeply inspired by these creatures." He posited that, in a certain sense, insects—the compression of energy and activity—are our most mysterious and powerful competitors, albeit never widely acknowledged as such. Based on this reflection, he incorporates insects by reversing and fixing them onto the back of his works. I was astounded by his highly detailed and subtle contemplation of the world; this observational perspective is quite unconventional and has inspired me to consider many events from multiple angles. "Mark Fairnington" mentioned various unique perspectives he applies when examining museums, galleries, or private collections, showing an interest in the traceable boundary between observing facts and speculating fiction. He referenced the collection of the Mattress Museum Storage, which, from the outside, looks like an unremarkable 1960s parliamentary office, but upon entering, it is filled with the most incredible images. He discussed post-colonial methods of collecting and displaying within contextualized taxonomical studies, serving as typical symbols of past political and cultural hegemony. Some images have been severely compromised, hollowed out and refilled with the skin of dead bodies, representing the fantasy of cognitive expectation correction and the supreme status of white males in the movement principles of colonial domination over nature, as well as the conquest of time and death through the preservation of life and death's progeny. He argues that in the natural sciences, these fictional narratives woven around existing or observed entities are significant, representing the evolving relationship with the natural world. Though they might be described as footnotes in the history of science, the power of these narratives persists.
Photograph from the Internet
Mattress Factory（2024）Pittsburgh.Available at:https://mattress.org/exhibition/6866/(Accessed: 27 Jan 2025).
- MA fineart group presentation
On January 14, 2025, I conducted a presentation and group discussion on my personal work and website with my sculpture tutor "Emily Woolley" and 7 classmates from various disciplines, including students from drawing, sculpture, computer art, and printmaking. During the approximately 7-minute individual presentation and subsequent discussion, I was exposed to the works and creative concepts of students from different fields. "Zihan Tang," a classmate from the MA in Sculpture, left a profound impression on me. She reimagined her sculptural pieces from the perspectives of space, ambiance, and the colors of light, creating an oppressive, slightly eerie atmosphere with sculptures that conveyed a sense of female fragility and instability. Her work showcased the beautiful yet fragile, diverse, and unstable self-gender and identity shaped by societal and familial influences. I offered critical reflections on her work, suggesting that her use of red as the primary color, declared as a color of unease, might be too one-sided. Perhaps she views color from a personal perspective; I believe a more diverse, public viewpoint should be considered in her work's analysis.
Following this, I described my website and practice, emphasizing a key concept in my work: organic hyper-narrative, where the narrative versions change based on the viewer's personal visual experience. Taking this opportunity, I asked for feedback from classmates from different disciplines regarding the narrative of my work. Including "Emily," they provided story versions based on their visual experiences. "Emily" interpreted an image as an ancient adventurer about to swing his sword at a cat, with the cat's owner appearing very sorrowful. Meanwhile, the younger classmates saw it as the game character Link on a mission, with the accompanying meme expressing dissatisfaction with the situation. Engaging in dialogue with individuals from different fields and age groups has given me a more multifaceted perspective on my own work, enriching my practice and understanding.