Melencolia I（2022）

忧郁 I
Melencolia I

Installatiob series
2022

有些人以一种极其深刻的方式体验着“边界上的生命”这一状态。他们从不明确地属于这里或那里，而是生活在无人之地。忧郁，是一种当个体感到自己接近无限之时所产生的焦虑——一种既令人狂喜、又带有威胁性的状态。成为一种“活着的边界”，逐渐构成了生命的意义本身。

同样地，正是这种模糊而不确定的引导推动着这一作品的展开。运动的方向由偶然性决定，思想的内容则由复杂的情绪所塑造，其核心源于对经验的丰富体验，以及一种不断重构自身与物质世界关系的意图。被发现的对象脱离了其固定的形态与神秘的历史特征。而在这种有意识的“重新命名”的运动中，它们试图从原有意义中抽离出来，重新获得自身的所有权。

或者也可以这样描述：一些神秘的符号、未知的字母、异域的词语。忧郁的隐喻维度在于：它们不仅指向自身，同时也暗示着一种缺失（被失去的爱之对象），更重要的是，在这一姿态中使某种“他者”变得可见——这一姿态，在丢勒的杰作《忧郁 III》中逐渐显现并变得清晰。

Others experience the mystery of 'life on the border' in a profound way. They are never explicitly here or there. They live in no human's land. Melancholy is the anxiety of a person who feels close to the infinite, but also ecstatic and threatening at the same time. To be a "living frontier" becomes the meaning of life.

Again, this vague guidance drives this work. The direction of movement is determined by chance, the content of thought by complex emotions, the core of which comes from a rich experience of experience and an intention to constantly reconfigure the relationship with the material world. The discovered objects are divorced from their fixed shapes and mysterious historical features. But in this deliberate movement of 'renaming', they attempt to detach themselves from their original meaning and regain ownership. Or it could be described as: some mysterious signs, unknown letters, foreign words. The metaphorical dimension of melancholy: they do not only point to themselves, they also suggest a lack (love object lost) and, more importantly, make something else visible in this gesture - a gesture that gradually becomes clear in Dürer's masterpiece "Melancholy III ".