Moyi Zhang’s “Circle” piece is a narrative that, just like a cirle, is without a beginning or end. The ambiguous event between the two figues is happening over time and space while the camera is going around itself. Instead of following the people, the camera is scanning the suroundings, spinning by the scene. The landscape, which is almost static, becomes an empty space because there are no other events to catch the viewer’s eyes. The viewer could only see the event when the camera meet the figues at a certain point. All these points are being constructed with our imagination, generating narrative structures. This video work is trying to explore the relationship between the changing image and the looping of time. The work poses the question about our understanding of time in ourselves, time in machine and time in nature.
Introduction: The kinetic installation work is always moving unregularly, no a certain direction or fixed state. Every triangular part has their own axes to go round and round like a clock. That make the whole work’s change. The external materials is reflective, With the change of time and space, reflect different angle of the outside space and keep moving all the time. The work is the deconstruction of time and space, formed a touchable, a perceptible object.
Introdution: Two of these videos have their own frames, that’s the wall in the work. The figures in two screens, one side is trying to comfort the otherside, however, the other side is alway shy away or refuse her. The only thing left is the unvisble wall hardly to break.
There are three sections of dialog, decribing a incompatible situation: happiness is so hard to pursue, exhaustion and tiredness, isolate from others even oneself.
Introduction: In this work, I microlize the “objects” what we see. they don’t have the easily visible macro form already, The edge we used to part things became unclear. Howevere, on the edge of of integration. There are new birth is under gestation.
The projection on the two side separately focus on the closest screen of them, all the screens are transparent, so the image will enlarge with the distance from the screen and projection. All the particles are moving and extending through the time, then replaced by the new ones. while the two side of the particles encounter in the middle, a new image will be produced. This image is not under my control but generated by themself.
The moving particles become a body of time and space. The audience standing in the middle of them just feel like seeing a vectorgraph, immersing themselves in the meditative state.
Introduction: Light is the writer of this book, What we see is the shadow being presented on every pageages of the book. I’m trying to find some ways to draw out and reconstruction Chaos system, then record and describle it. Thereby, make it can be read and felt, however,shadows can’t describe light forever. What we can hold is just a method of impermanent settle.
Introduction: My image is that of the mermaid in this work. Its appearance varies with your distance to relative to it. As one approaches, the mermaid will change from a 2D representation to a 3D one. As you move even more proximally the image will disintegrate.
Commends: “You and Me” is an interactive media work of Zhang Moyi featured in this exhibition. It implements a virtual world in a 2D format through the figure of a mermaid constructed based on subtle differences among the pixels “You and Me” demonstrates very well the idea of “reverse conceptualization” through a disguised and falsified space. The mermaid is a cultural icon found in one of Andersen’s fairy tale, but she plays the role of representing the artist’s tragic beauty in” You and Me”. The work poses questions regarding the experiences of our sensory organs and presents falsehoods of the culture as well as the pictures itself.
Zhang Moyi presents a piece of installation work and an interactive video piece, both display a fresh conversion of ideas. “ Shattered Room” is an installation work that involves dismantling a room and reconstructing the space. It portrays the “mental background” that ventilates the schizophrenic aspects of the modern people such as trauma, panic, fear, violence, anxiety and depression through the experimental destruction and the recovering gesture of “reverse conceptualization”.
The stark contrast between the two acts of merciless destruction and careful recovery displays a possible attitude toward wounds. Her radical approach to spatial analysis offers spatial absorption that overwhelms the audience’s eyes by toppling the idea fixed through the presentation of unique mise-en-scene that can be referred to as “differentiation of ordinary life”. Everyone in the audience can draw on her violence spuirming within and towards themselves in the beautiful. Yet breathtakingly dangerous space of “shattered Room”.
