The sun goes down and all sorts of shimmering lights linger at night. The bustling highway traffic and bright, deep street light, seen from far, have turned into dispersed dim lights and a star cluster which constitute the modern urban life. Our forefathers strike stones to generate sparkles and drill wood to get fire for their own use. In the ancient cave fable of Greece, people surround the fire, casting shadows on the wall, from which the representation of the ideal world comes into light by chance. In the 18th and 19th centuries, the invention of the camera obscura and the breakthrough of the daguerreotype process have captured the light and shadow that once existed. The flow of time is cut into static frames of fragmented images, which are played in sequence to create a visual illusion of reality. Nowadays, a great amount of images of super verisimilitude, through all sorts of interfaces, have invaded us. At the moment when everyone is forced to go back to solitude, all left in front of us are the glowing screens and images. In the beginning, there is a collision of sparkles from which light stretches out by spots as a line expanding into a surface, by which time and civilization are thus constituted.
The seemingly glowing screens can be seen in the exhibition space. In Calibrate : Blue Screen, the artist uses fluorescent paint to simulate the projector’s missing image, in order to create, by obstructed objects, contours and shadows projected on the wall. In so doing, he tries to justify by dialectics the relationship of counterpoint between substance and existence. In Pixel and Star Cluster, the artist employs countless fluorescent spots of RGB lights, pointing to and tracing the body “close to white” of digital image on the screen.
