Collectivisation

In Collectivisation, I show the collective's desire to become a commodity/idol by placing artificial lighting in front of each model who carefully presents herself, illuminating the face but partially obscuring the model's attempted idolisation of the body and the many absent virtual positions. The group portrait of the Netflix economy is presented as a set, and the models seem to be in an absurd theatre called urbanisation, with their faces fading into the group portrait, as in Michel Foucault's words, "the human being will be wiped away like a face on the beach", and the individual life is hidden in the impulse of self-idolatry, and becomes an anonymous gush in the commercial flood.

Party

In "Party" and "Drowning", I switch the camera to an indoor space. The young girl kneeling and looking up in "The Party" is surrounded by flowers, the girl's face is illuminated by a spotlight, and the city behind the window becomes the backdrop in the glow of dusk with the majesty of a falling curtain. The sides of the floor-to-ceiling window add fences that divide the image, making the girl's upward glance a display in the middle of the city, in and out of the window, and the observer's gaze complicit in the myth of desire.

Drowning

In Drowning, the woman drowning in the golden pond in the hardcover room is located in the centre. Unlike the image of Ophelia, which has been reinvented countless times in the history of painting, the face of the woman drowning in the picture has been erased from emotion, and the Romantic plants that surrounded it have been replaced with metallic and rare animals, whose organs are often used in all kinds of luxury goods, and human beings have nothing to do with their destiny in this capitalist The fate of man in this capitalist biosphere is no different from his, always as an object of sacrifice.

Coronation

The Coronation is an interpretation of the anthropological proposition of the feast of the rich, a collectivised frenzy that shifts from the holding of commodities to the dissipation of ambition and wealth in the midst of consumerism. The chaotic reproduction mechanism of desire is symbolised by a black cloud of many consumer goods. The people under the black cloud form a triangular structure similar to the Medusa Raft. Unlike the brutal struggle for survival in the archetypal story, the characters in Coronation cling to each other, looking up at the crown falling from the sky, and are transformed into a ship of fools sailing away in a lone boat.

The project references the image form of environmental portraiture, where portraits are shot in a studio and placed in a three-dimensional digital environment using digital post-production techniques, suggesting the relationship between the individual and the Internet in the Netflix economy. The Netflix economy virtualises human labour and consumption, and underneath this illusion of abundance is the emptiness of mimetic production and consumption.

The image installation is produced in the form of a billboard on a highway and placed in a quiet, static exhibition space, allowing the viewer to experience the abstraction of virtual and real time and space and to reflect on the infinity of consumption while staying in the exhibition hall.

Title of Work: Neon Power

Year of work: November 2023-December 2023

Form of Works: Environmental Portrait

Size of Artwork: Light box 260x140cm Base 150x300cm

Material: Pipe, Light Box, Surface Paint (Coating)