Memories of Shadows

“An incident in memory is impermanent; Memory of incidents as history is permanent.”

This installation work is developed to further explore the possibilities of how “linearity can be applied in 2 and 3-dimensional media to articulate spatial considerations of time in the context of Wabi-Sabi”, in response to my MFA Research Question I attempted to use metal and copper wire as the main materials to develop a series of linear sculptures. The feature sculptures are entitled 1) A Man Story and 2) A Seed Story and the remaining part of the sculptures are all included in this “Memories of Shadows” series

In the set-up of these site-specific installations with lighting, different shadows will be reflected on the walls at the back of the sculptures. They will be viewed in a holistic perspective of “Memories of Shadows” including the viewers’ shadows.

The term “shadow memory”, when applied in the computing world, is a technique used to track and store information in computer memory used by a program during its execution Shadow memory consists of shadow bytes that map to individual bits or one or more bytes in main memory. These shadow bytes are typically invisible to the original program in the computer and are used to record information about the original piece of data

However, from a human point of view, each person has his or her own memory history which stores the past. They might also have the capability to create a “back up” memory naturally, that’s what I would call “personal shadow memory”. However, in our real life, how to access our memory, how to read it, how to use or save things in our memory are our personal choices……

Compared with the computer memory which is non-selective, the human memory is much more intriguing in the sense that it is highly selective and personalized, governed by our consciousness. As pain is a powerful retrieval cue, painful memories tend to register longer in our consciousness, and so they often have a stronger impact on us than happy memories. It is thus explicable that some people tend to choose painful things to remember.

The shadow is subject to change when viewed from different perspectives, at different times, under different kinds of light. In very much the same way, memory is relative to time and space. For example, how we remember the same past event today or ten years from now would be totally different, just like how the shadow appears stark and intense under bright lights, but fades away as the light dims out (the passage of time). Hence, there is no right or wrong, good or bad; no absolute truth but transient perception. Our perception is changing constantly, depending on circumstances and perspectives, which change from time to time, just like the shadows of these sculptures.

All in all, these wire (shadow) sculptures express the philosophy of impermanence in the form of permanence, embodied with the spirit of Zen. The tangible wires represent the journey of life in an endless cycle of birth, aging, sickness and death, while the intangible shadow represents the memory, the loss and suffering one experiences in life. What we did in the past can be a shadow of life. The “Shadow” in the sculpture represent past events that become the focal points of life with permanent impact. We may also treat this installation work as “Shadow sculpture”. The installations in place and their shadows on the wall invite viewers to walk around and ponder on the different wire forms, while their own shadows are projected on the wall.

A note to the A Seed Story - That’s a rule of the nature.

People need to practice living naturally and following their heart with patience and a peaceful mind without too much manipulations and expectations. Similar to a seed, an event can only happen at the right time, at the right place, and under the right conditions. To echo the Buddhist Concept of Impermanence, the seed is not the tree, though it produces the tree, and the fruit is also not the tree, though it is produced by the tree.

Title: Three is Balance

The three narcissus stalks in tripod represent balance and a rock solid foundation of love, support and understanding among the family members. Lining up neatly in one direction, this image suggests that we have one heart and one goal despite our different positions and contributions in the family.

Title: Unbroken Thread

Without the Narcissus Images, and set up at Stanley Military Cemetery where soldiers rest in peace, this artwork describes the relationship between the two generations.

Under a gorgeous sunset, two pairs of scissors - one antique and the other modern – are placed apart, side by side, in contrast with each other The collar-pots, connected with a thick thread, have dropped their weapons and are now facing each other thoughtfully, as if one were asking the other, “Shall we talk?”

Title: They don’t understand each other

The gloom in my heart blooms toward late evening;

Up the old Cemetery, The setting Sun's endlessly endearing, But the light of Day is disappearing!

Narcissus Love

Installation configurations / Presented in digital printed photo in 68x100cm

Though I never told my father about this artwork, it should have an aesthetic expression which can be dedicated to my family, as well as honoring my father’s profession as a tailor This series of work, under the theme “Narcissus Love”, which features the Narcissus plant, was transformed from my previous work of an oil painting , which is also titled: “Narcissus Love” to an installation work consisting of 7 individual piece I then tried to make a new series of installation art in which the pots were handmade and sculpted in the shape of British shirt collars and the blossom stalks were made of real thread spindles. I have experimented setting up the seven collar-pots, with the narcissus plant being taken out or added in different backgrounds and settings to suggest different layers of meaning and narratives.

Original artwork medium: A set of 7 Narcissus-themed installation configurations

Plastic animated flower, sewing tools, card-paper, mixture of sand and acrylic

Dimension variable

Title: Family

The seven collar-shaped bowls, while different in style and character, represented the seven members of my family, designed to complement each other in a unity of harmony This installation work is a tribute to my beloved family of seven unique, but nonetheless united, members who I always cherish.

Title: With the Clocks and Shoes

Without the Narcissus, the relationship between my father and me cannot be better illustrated than by this piece. The passage of time is represented by the two clocks; the one in the foreground represents my father’s time of birth, while the blurred one in the background refers to mine. The pair of shoes is a symbol of my growth as an individual. Throughout the course, my father has played an important role. Although I have taken a different life path from my father’s, I am always my father’s son and following his footsteps.

Poetic Landscape

This series of paintings aims to capture the four seasons in the use of colour and form. The consistency in style expresses the permanent change of the season, each with its character and unique kind of beauty.

Title: Spring Gone with the Rain (連雨不知春去)

The misty rain that wets the soil is portrayed by the mixture of blue, green and earthy hues in the background. The blooming flower is the focal point of the painting.

Medium: Paper collage, acrylic and mixed media on wood board

Dimension: 80 x 120cm

Title: North Winds Chilling Down the River (北風江上寒)

The chilliness of the north winds is effectively portrayed by the cool colour tones and the rusty texture.

Medium: Paper collage, acrylic and mixed media on wood board

Dimension: 80 x 120cm

Title: The Seasons Come and Go without Staying (天不言而四時行)

This painting is inspired by A poem from Japanese Monk Ryokan (良寛 )

Translation by Steven D. Carter: Our life in this worldto what shall I compare it? Its like an echo resounding through the mountains and off into the empty sky.

For just as language cannot apprehend, nothingness cannot be expressed except in language. Over time, poems and paintings are transformed, moving towards abstraction until they are nothing but shapes and colours.

Medium: Paper collage, stone, acrylic and mixed media on wood board

Dimension: 80 x 120cm

Title: The Earth Nurtures Lives without Saying (地不語而百物生)

Medium: Paper collage, acrylic and mixed media on wood board

Dimension: 80 x 120cm

The work desk is attached in the bedroom where is located on the 3rd floor. This was the first time I experienced working and studying in a dedicated environment where allow me to concentrate on what I would love to do, grab the time to work in studio or go outside for biking, sightseeing everyday…..