Artist Statement

September 2022

Recently I've been making images in a computer with what I thought a photographer's approach (with the added bonus of occasionally generating interesting digital artifacts). It starts with setting up a scene, often by the various windows in my room, then I begin to decorate it with worthy subjects. Sometimes when a subject is so compelling that the place becomes marginal in the composition. 

The subjects, often assuming the shape of home fabrics and clothes, are a major provider of comfort for when I was living by myself in New York and later on switching from one quarantine hotel to another. I'm sure as my living circumstance changes, more scenes and subjects will come into the picture.

I also want to make sure that, despite my artistic intervention and the natural loss of fidelity with rebuilding objects in a 3d program, the final images retain a stillness that of a staged photograph. These images are traced from the most intimate daily objects and sightings, and therefore are reflections of my moods, thoughts, and visual interests of the time.

二零二二年九月

近来我在尝试透过摄影师的眼睛在电脑里制图。过程很简单，无非是先取景，再寻来些有趣的物件来布置，常常在过程中还能收获些漂亮的数字副产品。我常在我的旧房间里踱来踱去，它的每一扇窗都被采集当素材。当然有时候一个东西性格太鲜明，背景也相应地淡化了。

所谓东西，就是一个聚焦的主体，它们大多是由家里的布料转变而来。我挑选的过程挺随意，但它一定要柔软，和皮肤有着亲密联系。有些时候身体的零部件也会窜入图中。其实这样选材也和我之前独居的状态以及在回国时经历的一番番隔离洗礼有关。现在回到家中，什么都觉着新鲜，我相信我的图像也会渐渐随着我的活动轨迹丰富起来。

其实3d软件里很容易生成一些奇幻的光影效果，但我还是觉得一组静物图中那种沉静暗哑的感觉更吸引人。虽然大部分物件都要从头开始雕琢，但它们都是我身边一草一木的剪影，紧密地连接着我即时的情绪和视觉趣味。

October 2021