A contemporary artist living in Seattle, using canvas paintings, installation art, and photographs to express the feel of styles of parallel groups or spaces, such as spatial folding and space.
A contemporary artist living in Seattle expresses the style of parallel groups or spaces through canvas paintings, installation art, and photography, involving ideas like parallel, folded, and extended spaces, as well as a deeply open sense of 'similarity, exclusivity, and placelessness.'
The false certainty of human-contrived contours: within a bookstore where one seemingly selects books freely, the individual—disciplined into an “absent observer” by a pre-engineered spatial order—is forced into a state of landlessness. After all, the true commodities are pre-packaged “orders” awaiting mass consumption. …
Rockeries (Artificial Rockery / künstlicher Felsengarten) are a perfect metaphor for ‘mimicking nature / artificially constructed order’ in an artistic context. Juxtaposing them with ‘industrial standard products (stainless steel bowls)’ creates a sharp contemporary critique—industrial products have become the ‘man-made rockeries’ in the spiritual habitat of modern people. …
Four stainless steel salad bowls of fractal-scaling sizes originate from an international supermarket chain—mass-produced industrial commodities shaped by standardized molds. Within today’s highly regulated commercial landscapes, they are purchased en masse, populating thousands of domestic kitchens.
Rejecting a rigid, size-based sequence, the artist reconfigures them with dynamic lightness according to fractal logic—symbolizing the modern individual embedded within the contours of public order. …
Spanning a decade (2012–2021), this body of work condenses Damao’s profound insight into the human condition. Interweaving performance, installation, and painting, the artist constructs a spatial topology of “Landlessness,” investigating how modern individuals confront abandonment, alienation, and the fixity of the gaze within the folding and interaction of space. …
The human habit of verifying reality by calibrating senses through communication is long-established. However, in a contemporary era where all things are predictable by algorithms, genuine “happening” has become exceedingly rare. Whether it is live performances reinforced by exorbitant ticket prices and high thresholds, or the neighbor’s “heterogeneous creed” inadvertently stumbled upon when opening the window under moonlight, both act like an unexpected assassin fleetingly crossing your living room. Yet, those accustomed to outsourcing their judgment—those accustomed to algorithmic determinism and living in a “present overshadowed by the future”—are often incapable of enduring such an assault. While longing for that “certain future” to arrive instantly, they involuntarily build the wall between the living room and the bedroom ever higher. …
Beneath the shadow of Algorithmic Determinism, genuine “happening” has degenerated into a luxurious privilege.
Here, “banishment” is no longer a passive punishment, but an active refusal of systemic domestication and the judgment of collective mediocrity. Nestled within the folds of the wilderness, the subject resembles a blind wanderer returning home in the dark—bearing dark eyes born of the night.
Merging the observation of the present and the non-present observer into one——homecoming.
在算法确定性（Algorithmic Determinism）的笼罩下，真正的“偶发”演变为一种奢侈的特权。“放逐”不再是被动的惩罚，而是主体主动拒绝被系统驯化和平庸审判的抗争。在荒野的褶皱中栖息，如同夜晚回家的盲人，黑夜里的黑色眼睛。将观察者在场和不在场的观察，合二为一————回家。 …
The angel who met at the jungle crossroads https://www.redbubble.com/shop/ap/103318856?asc=u https://www.saatchiart.com/print/Painting-Angels-in-the-Woods/1919997/9109143/view
