A Soul in a Shell
The image is no longer a two-dimensional image. With the advent of 3D scanning and printing technology, images have become 3D images, a kind of 'deadstone' (Hito, 2017) that lacks the essence of all elements, but is reasonably present in space.
I scanned the fish in 3D and then printed it on the fabric in two dimensions. After sewing the fabric, put the fish in it. In this way, the missing elements of the 3D image are retrieved. Viewers can see the images of the fish, and through the fish in these images, they can also smell the fish and touch the texture of the fish.
School of Communication
MA Information Experience Design, 2019
The multiple identities of sculpture and experience designers gave me a unique perspective and understanding of computer 3D data. The mutual mapping of 2D and 3D, the re-entry of virtual and reality, and the absurdity brought about by computer vision, are all reactions to social development.
The 3D model in the computer comes from the real world, and it provides feedback to the real world. Mechanised copying; what does simple copying and pasting mean in this society? Did thousands of photos taken in 3D scans change the way humans view? Through repeated export and import, copy and paste in virtual and real space, hoping to find the association between empty shell and soul.
- BA Sculpture, China Central Academy of Fine Arts, Beijing, 2017
- Fragmentation, The Coningsby Gallery, London, 2019; Material Statement, Dyson Gallery, London, 2019; Data Dump, Garden House Gallery, London, 2018; Graduation Show, CAFA Art Museum, Beijing, 2017