There was once, when I was on a ship till the darkness arrived. The shaking of the hull was extremely severe, creating a one-meter gap between the shore and the stairs connected to it. The tide was rising. The moon, a perfectly round light ball with no stereopsis, lay flat on the curtain of night, created a sense of lost in distance and direction. The strain hit while I was trying to keep balance, as it hit me with the realization of the rise and fall underneath came from the traction of tide. The interrelation between tide, the ground I stood on, and the moon in the stars, provided an identical sense of the distance between us. It took me closer to the moon, which I had never been so close to before.
A fortuity on an offshore fishing ship connected the imaginary concept and the life experience effortlessly. The abandoned hull played the roll of a fork in the road between reality and fiction, opening up the narrative of imagination. Watching the moon through the porthole created the macroscopic distance between civilization and space technology; meanwhile converged the associate of gravity, light and shadow into a room, building a place for one to look back on the private personal growth history. To correspond to the residential household as an exhibition space, I counterpointed the space of a cabin and a house. The objects and surrounding I encountered in multiple confined spaces marked the trace of personal experience, built the boundary of my self and the world outside of me. It brought back the sense of sealed time one lived in, just like the stretched emptiness I encountered during the school-age time.
The Forty-Second Time of Folding Solo exhibition consists of a series of artworks, “Weight“, “Room, 7:25 a.m.”, “The Ship is the World“, “Deck, Hatch, Dirty Oil; Bed Board, Window, Urine”, “Stretching the Emptiness”, “Worldview” and “Tuning Time”.