These series (progressive work) draws together and significantly expands my previous artworks & research: the PUDU PRISON’s Graffiti.
In one of the series, whereby the usage of the lightboxes were designed & constructed to accommodate to the images as often times such combined installations would feature a reflective “mirror” of the viewers. The establish dream-like surreal quality of the reflection, suggests notions of purity and safety, and formally unifies the disparate objects in each installation. The images provides clues to content and interpretation.
My work is about creating a visual journal of my memories, an autobiographical means of saving and re-telling stories. By physically ‘saving’ my memories in a reflective images, such as the nature of photography, in a form of “flash memories”. Because my perception of memories changes over time, the work speaks of the aging process of thought.
By contrast, I have always wanted all stories to be saved for the future, rescued from the aging process. My work displays a sense of futility in the constant struggle to save what is inevitably forgotten or destroyed.
A large scale imageries and presenting them with current materials do play as a challenge to present these pieces… to move from flat passive planes of imageries to an “active” artworks comes as a point of negotiating the depiction of now the importance of utilizing artificial energy, which seems to have more needs from the mass, as to compare to the real raw source of energy, the sunlight.
Such manifestation had given the idea and construction of my venture into installation works, which reviews artificial lights & installations that “walled” our beings. Creating self-awareness by breaking away from the confinement of images which ventures into the dimensionality of space, I seek the understanding by acknowledging the interconnected behavioral patterns with the previous prison graffiti studies, as these works may give another insight & perspective serves similar significance in cultural memory.