頑空

When it snows, I collect snowflakes and shape them into an Eastern snow lion with my friends. Then, using the traditional rubbing skill to replicated the snow lion once a day until it is completely melted on the sixth day. I captured the six forms of white lions in the process of passing on hemp paper with black ink. The natural white and black blend together on six thin sheets of paper, creating a perfect combination.

We habitually use the standard of "either black or white" to view the world, but in reality, the transition between black and white is in flux. Good and evil are also flowing, only between our thoughts. When I see that the lockdown and control policies imposed on people due to the epidemic have led to the loss of many innocent lives, I hate those who turn a blind eye to the loss of life in front of them because they strictly abide by the rules of their superiors. However, I have not yet become such a despised person by the world, perhaps the temptation that made me so has not yet appeared. So when I saw many bad deeds, I began to think about whether I could still maintain my rationality to make choices in that situation.

The film extension method of the six images not only reflects the experience of circulation and change, but also presents the connection between the past and present in a spatial overlapping level, and unfolds an extended thinking on the pursuit of emptiness from such a three-dimensional spatiotemporal dialogue. On the other hand, the collision and smudging of snow and Chinese ink on paper is very different from the texture effects inherited from the cliff inscriptions, and it lacks a predetermined sense of boundaries. This kind of uncertainty is deeply related to the "rotating" present faced by cultural images walking in the flow. From the constant questioning of this "flowing" image towards the present, it returns to a process of reflection and action.