w h e r e v e r  y o u  a r e  ,  b e  a l l  t h e r e

Called the Dry Ground "Land "- Mountains

 

190x110 cm/per prints ( 4 prints in a set)

B/W Photographic Print 

2017

With the moulding technique, the negative space of the palm is transformed into ‘mountains’ suggesting an intimacy in distance. The subtle texture of the skin from the rough old hands gives the ‘mountains’ a pleasant warm.

It experimented a form of ‘lens-based ceramic’. I worked with the clay and methods of moulding. Photography is used to lead the gaze upon the object.

‘The Mountains Between Our Palms’ shows the ‘absense of presence’. Under the lens, the vague affection and connection between me and my parents are visualised. With the technique of moulding, the negative space of the palm is transformed into ‘mountains’ suggesting an intimacy in distance . The subtle texture of the skin from the rough old hands gives the ‘mountains’ a pleasant warm.

Called the Dry Ground "Land "

 

2015, 2017

b/w inkjet print on rice paper, wood

190x110 cm/print ( 4 prints in a set)

 

 

 

A set of photography work is initially made for the exhibition curated for visually impaired audiences. Making references to Arturo Martins's note,'A true sculptor can make sculpture simply by squeezing the clay between his hands...'. He emphasized the 'art of the blind'—material is transformed through touch not sight. By directly applying the method of 'squeezing the clay between the hands', the soft clay has turned the abstract negative space of the palm into comprehensive forms. Then, the clay is transformed into 'mountains' under the 'gaze' manipulated by the lens. For the visually impaired audiences, this “mountain” might be their most familiar landscape since their perception of the world is based on their sensitive palm and fingers.

 

I reworked this series of photographs and include it in my exhibition The Presence of Absence. The new title of the work highlights the making of the 'mountains'. I project my experience in ceramic making onto how the Creator shapes the mountains. Conceiving the warmth and the texture of Creator’s hand was imprinted on the earth while shaping the hills and valleys. The image gives an impression of 'mountains' but the depicted object (moulded clay) points towards the invisible and the process—how the clay is shaped by the negative space of the palm. An ambiguous indexical relationship is generated, the gaze plays the key role in transforming the material and 'making the sculpture'.