2017 - 2018, installation (processed real-time image data feed, engraved mirror plexiglass, one-way reflective pVC film, metal structure)
Fin invites scanning eyes and scattered attentions for a grand cruise in the G=A=R=D=E=N teeming with life and stories depicted in the ocean of stock images, where a total textual-visual archive that is also an ideal existence constitutes a simulacrum of the over-simplified world, the textual-visual environment that feeds us and that at the same time we interoperate within. The title Fin refers to the shape of the installation which looks like the flattened appendage commonly seen on aquatic earthlings used to navigate in the water. And in Fin, which also means the end of film or narrative in French, the Fin cuts through the pixel waves from one urban landscape (commercial signages) to another that is constructed by a networked archive of stock photography, deploying vision and hope for the ideal habitat or the end place we call “home”.
2017, woven archival giclee print on canvas, 17'' x 28''
image(s) courtesy of the Art History Graduate Student Association of York University
2016 - 2017, plexglass, dimensions variable
G=A=R=D=E=N illustrates an ideal habitat fertilized by language as a house of being -- a house in which man dwells. It starts with generating a 15-line-verse from anagrammatic transformations of the letters in commercial signage “house for sale”. The liberation of individual letters from their syntactic arrangements turns the house of language into ambiguous word clouds and a quasi-sci-fi and contemporary fable.