Locked up Rainbow  
​家里的彩虹

There are three intentions for this set of photographs. One is to get rid of my own negative emotions caused by the epidemic. The process of making this project is similar to a game, and it is my daily thought and spiritual sustenance; another intention is to create a way to help people stay in touch during the epidemic. To help them relieve the loneliness and loss that have spawn out of the lockdown. As a result, this group of works has received a lot of praise and responses on social media, and some people have followed suit. My final intention is to consider and experiment on the relationship between "me" and "my environment” amid the pandemic —

 

这组作品创作意图有三,一是驱除我自身由于疫情带来的负面情绪,它是一个有趣的游戏,是我每天的思想承载和精神寄托;二是制造一个帮助人们在疫情中保持联系的工具,为我无法见面的朋友们排解寂寞和失落。这组作品在社交网络上获得了很多好评和回应,也有人纷纷效仿;三,这组作品是我对”我“与”我的环境“在疫情中期的思考和实验 — 

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The objects we own are evidence and proof of our identities, they also reflect our preferences and habits. However, whenever a new item is brought into our lives, our excitement always sits on a downward sliding scale due to “hedonic adaptation”. Sometimes, our emotions towards the things we own can even become disgust. The cumbersome of our daily life cut our time at "home" shorter and shorter. It is inevitable that our homes have become museums of idle items. The “things” we once added to our "home environment" with much love, and the objects that used to define "who we are”, have become idle furnishings in a neglected home. 

我们拥有的物品是我们身份的证据和证明,它们也反映了我们的喜好和习惯。然而,每当一个新物品进入我们的生活时,由于“享乐适应”,我们的兴奋总是因“享乐适应”而逐渐消失,有时,我们对自己拥有的东西的情绪甚至会变成厌恶。日常生活的繁琐也让我们与“家”相处的时间越来越短。我们的家不可避免地变成了闲置物品的博物馆。我们曾经充满爱意地添加到“家庭环境”中的“东西”,以及曾经定义“我们是谁”的物品,已经成为被忽视的家中闲置物。

In 2020, the pandemic forced us into a passive isolation. The original rhythm and rules of life broke down, and the sense of loss caused by loneliness was suddenly magnified. The blockade forced us to relearn how to get along with "home" and how to interact with our “home environment". It also rejuvenated my passion and curiosity for the items that I have grown too accustomed to in my life.

2020年,疫情迫使我们陷入被动孤立。原本的生活节奏和规则崩溃了,孤独带来的失落感顿时被放大。画地为牢式的封锁迫使我们重新学习如何与“家”相处,如何与“家的环境”互动,也让我对生活中已经习以为常的物品重新产生热情与好奇。

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The pandemic has relocated "people" back into their "home environment", and the home environment is made up of the items we have acquired. During lockdown, people are forced to have a new relationship with their belongings, through re-examining them, re-interacting with them, came a new understanding of "home". In April 2020, I did a one-week performance/photography experiment. Over the course of one week, I picked a colour everyday and then picked out the items in the house according to the colour, and then I arranged them on display like staging still life. I recorded the process of creating and de-creating the still life composition, and each day it was captured by photography. I found colours in the objects I own, and I found a new relationship between between "me" and "home”. These objects brought me joy.

疫情把“人”重新搬回了“家的环境”,而“家的环境”是由我们获得的物品组成的。在封锁期间,人们被迫与自己的物品建立新的关系,通过重新审视它们,重新与它们互动,对“家”产生新的理解。 2020 年 4 月,我做了一个为期一周的表演/摄影实验。在一周的时间里,我每天挑选一种颜色,然后根据颜色挑出我家的物品,然后像摆拍静物一样将它们陈列摆放。我用视频记录了布置和复原的过程,并最终以摄影的方式呈现这些”东西“为我带来的色彩。我在我拥有的物品中找到了颜色,我在“我”和“家”之间找到了一种新的关系,它们给我带来了快乐。

 

This set of work re-oriented my attention to my surroundings and reinterpreted the “idea of home". In the making process, the home environment and objects took on new meanings which were unexpected. In our normal bustle, our belongings became idle dust collectors. Yet during quarantine, these items transformed back from furnishings to spiritual companions. Accompanying us day and night, they brought hope and joy to our monotonous lockdown life, it’s what a home is for.

这个作品将我的注意力重新定位到我生活周围,重新诠释了“家的概念”。在制作过程中,家居环境和物品被赋予了新的用途也发生意想不到的含义转变。在我们平时的喧嚣中,我们家里的东西变成了闲置的灰尘收集机,但在隔离期间,这些物品又从摆设变回精神伴侣,与我朝夕相伴,为我们单调的禁闭生活带来了希望和欢乐,成为了我们的精神寄托。

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