|
Walk in Here, Speak out Thereafter
Supervising professor: Ku , Shih-Yung
Graduate student : Tu , Wei
ABSTRACT
This thesis discuss about how to simulate the memory and idea of time and space, using the montage movement of image and sound, from the time and space experience we sense our bodies, with the concept of view, and try to describe how images are transformed into view, thus forming another repository for our body senses. “Walk in Here, Speak out Thereafter” express a “view” of time/space fold which is like “out there” and “outside”, the place we “Walk in” is not “here” or “there,” but a view of moving and varying fascination, while “speak out” means the image forms the “view,” also the interface of the co-existence of others and the world, when “Walk in/speak out,” time and space reacts with each others.
In addition to extending the topic of past installation works, i.e. demonstrating the existing circumstance of oneself with “view,” the experience of certain spaces, the work also responds to the censure about the existence of “time” when audio and video is used as a medium. Before installations always cover the point that space exists with the condition of “absence,” because time and space, in the form of a installation, only starts strategically with the “presence” of the audiences, but in the space of image presentation, I assume moving images as bait to “entrap” the sight of audiences and lead them to a state of self-entrapment. The meaning of self-entrapment and the completeness of entrapment is that after transforming self existence into images, while the image feedback to our sensible bodies in an unfamiliar and virtual way. A work concerns the artist. As an artist, my image work is a “view” for me to achieve, as my work, the condition of “present but absent,” forming a running gap between the reality and the image for the wavering mind and senses.
This text comes after the affection and senses between me and my work, and, as it should be, tires to describe the contour of the work with words. Artists always have difficulties to think in words and confused with the interpreting authority, thus being nervous on perception description. But I suppose the fear of words over the work is due to the misunderstand that both written words and images are forms to express one’s mind and senses, they have their own indispensableness, same as the producing of “supplement” effect from the confrontment of bodies and images, thus, having the possibility to give contemporary art heterogeneity and multiplicity.
|