清影

In April of this year, the Inna Art Spacewill present “Re-Image”, an extended engagement with image media and theirmodes of display inviting relevant practitioners from China and around theworld to gather and exhibit their work continuously for a period of two weeks.The project aims to exhibit and promote work made in image media and to providea platform from which to further examine and discuss this, thus stating thecase for image media based art.

In April of this year, the Inna Art Spacewill present “Re-Image”, an extended engagement with image media and theirmodes of display inviting relevant practitioners from China and around theworld to gather and exhibit their work continuously for a period of two weeks.The project aims to exhibit and promote work made in image media and to providea platform from which to further examine and discuss this, thus stating thecase for image media based art.

 “The One”

Single-channel video

1080 P colour, 3 mins 58 secs

2013

“The One”: At its origin, the Principle is founded in the One, forming the Heavens and Earth, forging myriad things. All arises in the One.

The work focuses on the correspondences between a single tree emerging from water and its reflection. During shooting, the minimal techniques employed were ritualistic in quality, tracing the horizontal axes of multiple “ones” (the Chinese character yi “一”） sweeping from the top to the bottom of the screen, as if to encompass the totality of existence. The various, white blanks that appear throughout the film allude to a return to a sort of nucleic state - from the pure white of the heavens to that of water - projected in cycle to begin once again from the moment events appear to conclude.

 “The One”

Single-channel video

1080 P colour, 3 mins 58 secs

2013

“The One”: At its origin, the Principle is founded in the One, forming the Heavens and Earth, forging myriad things. All arises in the One.

The work focuses on the correspondences between a single tree emerging from water and its reflection. During shooting, the minimal techniques employed were ritualistic in quality, tracing the horizontal axes of multiple “ones” (the Chinese character yi “一”） sweeping from the top to the bottom of the screen, as if to encompass the totality of existence. The various, white blanks that appear throughout the film allude to a return to a sort of nucleic state - from the pure white of the heavens to that of water - projected in cycle to begin once again from the moment events appear to conclude.