Wood, TVs, mixed media, two-channel video
Dimension variable
video:
part one: http://vimeo.com/160582898
part two: http://vimeo.com/160586717
The figure of Chow Yun-fat wearing a long leather jacket flashed in my memory; sometime Stephen Chow and Athena Chu appeared in a fairy tale about love with supernatural ability; also it always easily felt dazed in the world of Wong Kai-wai’s special rhythm. In the era of my childhood, plots of films were shown on a flat screen, yet it left a three-dimensional impression. However, till the deep night, the screen at home presented different situations. Occasionally parents stayed up late, I headed out from the blanket and peeped at the television; or even while they were sleeping, I secretly waked up and turned the TV on. It revealed black and white and pulsating scenes. In that the dialogues had a dissimilar rhythm; the stories are about grassroots, poor yet self-sufficient and hard working life; meanwhile genteel and high-pitched Cantonese operas are interspersed from what they were saying. These combinations are already overall mixture of impression in the 60s. It seems fictitious, strange, and too far away to get in touch with.
The only way to link up both times and my own context, is home itself, the place of watching old movies. As long as a film involves performances of human beings, it almost has living indoor shots. Thus, it normally reflects norms of human life and provides hints for recognition beyond eras, from reality to drama. I hereby find an angle entering history to make distorted home appliances-like sculpture. On one hand a screen plays edited old Cantonese movies; on the other hand a screen plays the acts of me to speak and sing referring the movies.
記下周潤發穿著皮褸閃過的身影；一時又見著身處仙履奇緣的周星馳與朱茵怪力亂神；還有茫然於越看越迷離失魂的王家衛。孩堤時代，電影裡平面的情節留下比現實更立體的印象。然而到了夜深，家裡銀幕又呈現不盡一樣的情境。有時候雙親晚睡，自也在被窩裡探頭偷看電視，甚或在他倆酣睡時下床開啓，一幕幕是黑白及跳動的戲。節奏不一樣的話語；貧窮卻自足生活與奮鬥的情節；間或穿插一段文縐縐且高亢的粵曲。這些組合，已然是自身對六零年代的總體印象。是虛擬、陌生的，像遠古得摸不著邊際。
唯一能串連起兩個時代及自己的場景，是在看戲的家本身。戲只要有人，幾乎都具備住所室內的取鏡，因而也必體現到人文生活的普遍景象，可以跨越時代認知過去，由現實到螢幕。我從這裡進入歷史，製作引申為扭曲的影視家具組合雕塑。螢幕一邊播放已剪輯的粵語長片；一邊播放自身讀著及唱著那些從小便耳熟的對白及戲曲。
The only way to link up both times and my own context, is home itself, the place of watching old movies. As long as a film involves performances of human beings, it almost has living indoor shots. Thus, it normally reflects norms of human life and provides hints for recognition beyond eras, from reality to drama. I hereby find an angle entering history to make distorted home appliances-like sculpture. On one hand a screen plays edited old Cantonese movies; on the other hand a screen plays the acts of me to speak and sing referring the movies.
記下周潤發穿著皮褸閃過的身影；一時又見著身處仙履奇緣的周星馳與朱茵怪力亂神；還有茫然於越看越迷離失魂的王家衛。孩堤時代，電影裡平面的情節留下比現實更立體的印象。然而到了夜深，家裡銀幕又呈現不盡一樣的情境。有時候雙親晚睡，自也在被窩裡探頭偷看電視，甚或在他倆酣睡時下床開啓，一幕幕是黑白及跳動的戲。節奏不一樣的話語；貧窮卻自足生活與奮鬥的情節；間或穿插一段文縐縐且高亢的粵曲。這些組合，已然是自身對六零年代的總體印象。是虛擬、陌生的，像遠古得摸不著邊際。
唯一能串連起兩個時代及自己的場景，是在看戲的家本身。戲只要有人，幾乎都具備住所室內的取鏡，因而也必體現到人文生活的普遍景象，可以跨越時代認知過去，由現實到螢幕。我從這裡進入歷史，製作引申為扭曲的影視家具組合雕塑。螢幕一邊播放已剪輯的粵語長片；一邊播放自身讀著及唱著那些從小便耳熟的對白及戲曲。
