“The Geography of The Past Future” exhibited this time features a group of sculptures with ceramics as the main material. By applying some basic laws of plate movement in the continental drift theory as a framework, I synthesized my personal experience with the connections between super consciousnesses, and incorporated it into my work in an effort to simulate the miniature landscape constituted by the continental plates 200 million years later. 

As part of  “The Past Future”  series, this work was inspired by my hallucinatory experience when hiking in Iceland. Back then, I often traveled between various landforms, including black sand beaches and wilderness permeated with sulphurous fume … Outside my residence were rolling ridges, where I hiked many times. I remember I was constantly looking for something subconsciously carrying the intuition that I might spot the answer in the next step. Since it was the polar day then, the sun revolved around the mountain peak rather than setting behind it. Each time I looked up as I was hiking in the mountains, I saw the sun hanging in different places of the mountain, staring at me moving on the landscape like an observer, as if gazing at ants crawling in the boundless hills. 

I proceeded with that sight, and it followed me to the depths of my subconscious. Even when I returned to the city, the rounded light spot never dimmed; instead, it often flashed in my mind, drifting and expanding. Mountains and planets emerged from it, swimming crosswise and merging into one… These images and emotions continued to accumulate, giving rise to the occasion to create  “The Past Future” series. Last year I completed “The Blurred Landscape” as part of this series, which explored my experience with the blurred landscapes. In the subsequent creation of “The Geography”, I began to try a more rational framework, that was, the logic of geography, to present the scenes that I had experienced yet were hard to prove, the countless transient things that were perceived via way of reality, as well as the gap intertwined by superconsciousness and reality.  

Deciding upon ceramics as the media to present my work, I conducted a three-month artist-in-residence program in Jingdezhen International Studio. The unique characteristics of the  earthy and organic ceramics and the multiple changes of glaze in the kiln allowed the models in my mind to spontaneously produce the meaning of generation and evolution upon being finished, and finally presenting this series  of “future” geology with magical and legendary temperament .  

Gallery