I want to create a sense of journey both through memory in contemporary way rather
than just using the psychical collage. Inspired by Guy Debord. As the study of the specific effects of geographical environment, consciously organized or not, on the emotions and behaviour of
individuals. The exploration of urban environment psychogeography. My understanding of the psychogeography in a mental stage is about the fragment memory. I am mainly focused on “screen memory”
by Sigmund Freud. Screen memory (Disported Memory) is the Freudian term for a recollection that masks deeper, psychologically significant memories. According to Freud’s theory, memories overlay
and obscure each other. His essay on screen memory began with a puzzle about beginnings. “People often deal with fragments memories that have stayed with these individual patients from their
earliest childhood years. It is recalls in absence way. “Screen memories do not emerge into consciousness at the time of recall”- Sigmund Freud (1899).
Within the fast-changing environment in China, the unique traditional culture of China occupies a pivotal position in the world. The Chinese traditional paintings form is the treasure of Chinese traditional culture. Chinese traditional painting has influenced in the Chinese photography. The time when photography firstly been used in China. Most of photos was taken by Western photographer. The understanding and explanation of photography by Chinese was to explore the use of traditional Chinese painting forms to idyllic scenery photography, established the unique characteristics of the traditional Chinese style photography. From conception to creation, every step of pictorial photograph that is under the effects of Chinese traditional painting style reflects the cultural connotation of the artist and the inheritance of the Chinese traditional aesthetic idea from the 1900s. Although this kind of cultural connotation and aesthetic idea are influenced by the traditional culture, they have different forms of expression in each period and stage, which reflects the epochal character of the photographic creation.
The development process of pictorial photography is full of inclusiveness, persistence to tradition and inclusiveness to culture. The artist's self-confidence in the traditional Chinese culture is reflected either in the pictorial photography that pays attention to the artistic conception image or that is in the more diverse forms of creation. With cultural self-confidence and cultural self-consciousness, the artist, while absorbing the foreign excellent culture, promotes the national excellent culture through artistic creation, and combines the traditional Chinese painting form to present the photography art with national characteristics. Pictorial photography fully embodies the collision and exchange between traditional Chinese culture and photography, and the strong national colour in the pictorial photography works deeply reflect the aesthetic charm of traditional Chinese painting form and the connotation of traditional Chinese culture. For example, Lang’s merging of the modern art of photography with the aesthetic of Chinese ink paintings.
我并没有系统的学过中国传统水墨画 但或许因为小时候所处的环境让我能够耳濡目染的抓到一小部分山水画的精髓 （作为一个门外汉的感想 请专业人士勿喷）我相信观察能够使人更细腻的去发现一些绘画上的细节
经过思考后我认为或许能在大幅的山水画上加入之前在拍卖会上的画的概念 将画的边角烧毁 但意图并不是想去破坏 而是想表达一种世间万物都是虚无的感觉 因为我们存在的这个时代即将会一去不复返 但是我能有这样的感受全是因为我了解了过去 看到了过去的样貌 那些是真实存在过的 但现在又是的的确确物是人非的 我们延续着过往 毁灭 再造 重塑 奇妙的是每个人感受到的和看到的都是不一样的 所以这个世界是多姿多彩的 它因为我们的不同感受 和视觉感受变得立体 我想我想带给观众无非就是一个很简单的道理 就是我们所看到的都是不一样的世界 所以我用了两个相对的画面 用这两个画面呈现在同一个平面上 表现出两个相对的空间 他们可能存在着斗争 或许和谐或许嘈杂 但是所有的东西都是相对而存在的 就像绘画和摄影他们具有互联性一样 究竟是绘画成就摄影还是摄影成就绘画 其实他们是互相成就的 但是绘画要比摄影来的灵活的多 就像我在research paper 提到的一样 摄影无非就是定格画面 在特定的时间和时空里 但是绘画不应该被定义 绘画是灵活的 我所能表达给观众的只有那么一个目的 就是消逝