I can still remember ten years ago, maybe earlier, after a long-long raining day, in the evening I could just listen to the sound of dripping water outside the window and fallen into the deep sleep smoothly. But nowadays, to hear the voice of nature has already become an impossible dream. Thanks to the increasing number of high-end technology devices we are using in our daily life, this modern lifestyle is gradually swallowing up our every last second we have. People prefer to chat through mobile phones instead of talking to each other face to face. The quality of the relationship between friends has been quantified as the frequency of pressing the “like” button on social networks. As a result, the technology beats the humanity.
At the same time, I have also noticed several unexpected tendencies. For instance, while we are wasting our precious time on the games or social networks in personal mobile phones, some sorts of people are willing to install a simple software on the phone, which software just has one function: play a piece of nature’s sound, to help people fall asleep faster. As you see, we are living a very stressful life due to the disadvantages of technology, but we are also trying to find comfort in it.
That is the original idea of my series of works. By introducing the state-of-the-art mechanical sensors, projectors and moving images into my artworks, I am making an effort to find the balance point between technology and humanity.
My first work, as shown below, uses a motion detective sensor, to transfer the movement of audiences to continuously changing representative images shown on the surface of a wall.
To get the environment involved in the installation is what I was practising. As the knowledge we learned during seminars, the artwork should not only be a representation of the reality, beyond that, the artwork should make interactions with the real world. Here in my piece of work, the audiences are getting involved in the work, and they form a united whole.
And there are two kinds of viewers when the audiences come. The first viewer is the computer, the machine learns and tests the unknown world, with the tools of parameters and values detected by the sensor. The second viewer is the people of audiences, seeing the visualised image on the screen which is generated by the movements of themselves.
For the further development, I might do some experiments to break the frame of the linear relationship to “time” in my work, and try multiple and open spaces instead of one crowded room.