Voilà (2023)
Voilà, voilà, voilà, voilà qui je suis
Me voilà même si mise à nue c'est fini
Me voilà dans le bruit et dans la fureur aussi
Regardez moi enfin et mes yeux et mes mains
Tout c'que j'ai est ici, c'est ma gueule c'est mon cri
燃 燒 (2023)
Compared to the literary work Barn Burning by Haruki Murakami, I was more influenced by the cinematic presentation of Burning by Lee Chang-dong. The scene of the burning is too impressive to be erased from my mind. Fire is extremely destructive, and fame, marriage, money, accompanied with pretension, self-esteem, and obsessions — all built on the hierarchy of capital — are all equally reduced to ashes on the ground. Whose body, whose barn, who gained more, and who had nothing. The man with the hollow inside is all a void regardless of where they stand and who they are.
White Ashes (2023)
The only proof of the existence of fireworks in the daytime is either the residue or the soot.
Invisible Net (2023)
I started this drawing because of discomfort. It described an internal problem.
As a procrastinator, I scheduled my time to force myself to get rid of it. It turned out to be effective indeed, and everything could be ticked off one by one under management. Meanwhile, there was a 75% perfection threshold in my head, and I was already trying very hard to get the 100% down to the 75% so that material could be turned in or presented on time. However, I realized that this 75% threshold in my head was getting higher and higher, and thus the check boxes and 75% were fighting.
In this painting, I described an uncomfortable feeling, as if I was sleeping with my eyes open, as if I was getting stuck in a huge, sticky, soft but sharp net. This net was enlarged during finals or deadlines. I flipped one of them open and saw the next net waiting for me.
餌 Series 1 (2018)
When you look long into the eye of the fish, the fish looks into you. It is hard to tell, who is the fish on the slab?