Every piece of red in my work and my way I manipulate the color and the composition extremely reflect to the idea of risk and mystery. I think what I am trying to do it to deliver a sad or even despair feeling with bright color schemes， so I what I try to do is that I manipulate the model in a way of feeling depressed or physically injured. I feels like I rely on this kind of mood to create stuff. One thing we could not deny is that our body structure is strongly associated with the color red, It remind me of thing I struggle for,
As a person with bipolar disorder, I felt like myself is consists of millions of traumas and mental scars. It is like fragments, because I collect thoughts shuttling back and forth in conversations, pieces of words vagabonding on the Internet, and specks floating high in the air. Those fragments are an unstable scenery.They stretch out endlessly, brutally demonstrating to me they are true and only inside.They are accumulations over time, without the order of a story or novel. They are the feelings brought about by loss.They are pains, desires, and fantasies that fumble and tumble in our hearts, enabling us to feel dizziness in head and bitterness in mouth. It is a kind of unspeakable bitterness to have all sorts of things mixed and churned up in mind just like floating residuals.
Exhibition—[The Mask]
Good visual works are connected with the Tao of Chuang Tzu. The "liberating personal vision" theory resembles the ancient works of philosophical sages. According to Chuang Tzu, a sage is a person who can integrate the ‘grand narratives ‘and the ‘petty narratives’ into one. The ‘petty narratives’ represent skills and rules, while the ‘grand narratives’ are the photographer's natural reaction to the scene. The so-called "liberating personal vision" is to "go beyond skills," combine skills with instant reactions, and record the most authentic emotions.
In photography, seeing what others cannot see is crucial. Is it more accurate or more illusory under a specific ‘mask’? Is reality the correct dimension? How do you dig out the flowers hidden under the soil in the context of the aesthetic system? Let us remove the layered masks, let the seeds hidden in the corner no longer be covered with ashes, and open new branches.
The story I create doesn’t exist inside the frame, but outside the frame. That is what red does, it allows the audience to think beyond a single dimension. The color red would be beneficial in terms of leaving out certain unnecessary details in the frame, and engaging the viewers.