Li Ying：Work | Over

After discussing with the two artists, Li Ying and Luo Shuang, the 30th Workshop Project of OCT Boxes Art Museum will be divided into two independent ways of exhibit. The mindset of the works comes from the resident experience, and the two independent projects form a perceptual continuity. The artist Li Ying, who was the first to exhibit, combined mobile phone video recording and network audio and video resources more directly in this workshop project. Some specially selected image scenes and parts of the pictures reproduce the rereading of "social words" in the visual fragments, juxtaposed with the structure of "art discourse" that she concerns about, which are mutually unclear but have structural references with each other's texture and disturbance, forms a kind of non-linear correspondence with teasing and suggestion.

Li Ying tried to use the grammar of the typical "collage language fragments" to search for local social fragments with emotional signs during the residency period, which is very different from the expression of the ontological language of her own art sculptures in the past. She spent a lot of time riding a bike to repeatedly "pass" some scenes around the resident, and recorded these "passing" on the spot, and then returned to her emotional response to artistic discourse in a simple way of editing. This kind of society The picture is "passed" and "juxtaposed" in the interpretive image of the phrase "artistic rights discourse". What is more exciting is the music she included on the Internet. The embedded music recorded in each video is all from the Internet, and it seems that they are all implanted to explain the picture parts, expressions, movements, postures of an image, or just an aid to the rhythm of the image tone, makes the final corresponding "artistic discourse" returns to a kind of overflowing sociological deep description. An indescribable mood with the artist’s warmth is sublimated and finishing touch through these soundtracks. The image is again self-generated and misread in the embedded "social music". Perhaps this is Li Ying’s "words and objects", and it is also her habitual counterpoint of "words and objects" to express her own "passage" of social places. A large number of fragmented images have been forced to add notes by "discourses of artistic rights" and repeatedly forced to be perceived as "word fragments," thereby vaguely leading to a connection with the absence of specific aesthetic politics. The space is divided into two places: dynamic and static. Through the projection of images, pictures and sculptural language, we can feel her plot-like graphical expression of the turbulent "real and virtual" of "discourse".

The artist needs to have similar expressions and formal deductions of "demolition depth mode" in the context of using sociology and other interdisciplinary theories as the "tiger skin", so that the purpose of departure and the way of return appear to be "free and self-contained."