The sea has no memory, but it can also be said that the sea has memory. The waves and stones on the sea are bound to have time nicks. She sometimes hated it so much for the pain it brought to all the memories, and sometimes she trusted it so much and depended on it so much. It's like facing a hook without bait, knowing the pain and going forward. ——Wu Mingyi, "The Compound Eyed Man" When I first saw the exhibition title, I recited "reciprocating and returning" slowly, word by word, which seemed to be just a rhythm. However, accompanied by the movement of the rhythm with the body, the hand draws repeated lines, and between the mistakes and dislocations, it seems to have walked out of the vague trajectory and the deep structure of its possible structures.
The images outlined by Wu Jiayun's brief exhibition title lead people to think about the world affairs that correspond to this back-and-forth pattern and are internally connected. The exhibition site is located at the projection wall of the Museum of Contemporary Art Taipei. The works are developed on the architectural screen, and the night falls, which quietly disappears into the urban porosity and disappears into no name. I thought that his soundtrack and face would be engulfed by the clutter of squares and streets. When viewing the exhibition, he felt that his works could wedding photo retouching services not be said to be strictly time-space, but they actually poured out something about life. I realized that the artist may intentionally embed the works in the bustling market. , so that it can be reflected back into each other's afterimages with all living beings, revealing the co-construction of the two structures. Therefore, "reciprocating and returning" has widened its traces in the city market, stretching the pitch and life of the world, into the life of the pen, and into the tide of the sea. between time and me The general atmosphere of Wu Jiayun's creation exudes a kind of suspended poetry,
as if he has no intention of settling on any meaning, but the diffused sensibility is suspiciously profound. This feeling may be due to the fact that most of his works touch on the subconscious, dream, memory and the visualization of time, such as "Void", "Song of Lost III-I" and "Jet Lag", etc. These concepts are regurgitated again and again, and the exhibition is also rebate The proposition echoes the inquiry of who I am and where I am now. Taking the work "Empty" in this exhibition as an example [Fig. 1], this work is compiled from images taken over the years. Through complicated techniques, the traditional image is identified with the nature of time through the film frame, and it is given to because of no Dividing time and creating digital images without traces confuses the boundaries between the two in terms of viewing experience.