Employing the forms of sculpture, painting and projection, Yi-Fan Li transformed his work into a fantastic narrative object lying fragmentary in the exhibition venue, a work bearing more than a passing resemblance to the detritus of bitter struggles. By observing these shattered remnants, the viewers may have a glimpse of the psychedelic space-time through which the artist has travelled; to wit, the emergence and disillusionment of desires.
Li formulated a meta-narrative concept by skillfully applying technological media such as projection mapping, making his work seemingly hesitate to move across the threshold of narratives and ergo mired in a state of constinuing preparation. Such “preparation” was rife with the frolic, wrestling and torture between the artist and the media he used. It was not until either party collapses that the work rose from the decaying corpse and then the narratives unfolded quietly. In this sense, what we see in Li’s work is not simply the narrative flow but also the ambiguous dimension acquired from the entanglements between his life stories and the media he adopted. In this dimension, time stops elapsing, Mercury is in retrograde motion, and all spoken words make no sense because they are blended with one another.