Emerging from mass production—four stainless steel salad bowls of different dimensions from a global supermarket chain—these visual elements embody a modern resonance of decay, anxiety, and detachment. By abandoning rigid binaries of black and white or right and wrong, they free the dynamic flow of fractal order. Within this spatial domain and narrative landscape, marked by a sense of the absent observer, missed transient moments and accidental vacancies fold into parallel, interconnected spatiotemporal bonds, yielding to the unbounded gaze of displacement. At its heart, the practice is a conscious artistic inquiry going beyond manufactured order to interrogate “similarity, exclusivity, and infinite possibilities unbound by place.”
这些来自全球连锁超市的四个以分形尺寸的不锈钢沙拉碗，源自批量生产，这些承载着现代社会即将废品感、焦虑与疏离感的视觉媒介，摒弃了黑白或对错的二元框架，释放出分形秩序的流动逻辑。在这种观察者仿佛“不在场”的场域与场景叙事中，主体无意错过的瞬间与偶然留白的局部空虚交织，折叠成平行、交互的时空纽带，向“无地性”所带来的凝视深度敞开。归根结底，这种实践是一种有意识的艺术探索，超越人为的秩序去探讨“相似性、排他性以及不受地点限制的无限可能”
- The Architecture of Placelessness: Spatial Folding, Mass Production, and Modern Alienation
无地性的架构：空间折叠、大规模生产与现代疏离
Pinecone lollipop / stainless steel salad bowl from an international chain supermarket / universal fractal ratio in supermarkets /4 fractal size / Seattle / 2024/松果体棒棒糖/国际连锁超市不锈钢沙拉碗/四分形比例尺寸/西雅图/2024
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