The sea exiles us, yet we search for a new world on its will.

 

The Ominous Seascape explores and discusses the representation of the physicality of object and text and image. 

 

It fundamentally depicts the room of image and text between intellectual and emotional, political and personal. The texts are extracted from The Stranger by Albert Camus and paired with the experimental images I made to construct the narrative and notion. 

The seascape as the primary visual subject is inspired by the ferry journey between Hong Kong and Cheung Chau. I live in Cheung Chau, but I was not born in Cheung Chau. I moved to Cheung Chau island in 2014, after a big fight with my family. Every morning and night, I took an hour-long ferry to go to Hong Kong and back. 

 

The hour-long journey offers me a break from everyday conflicts between individual and power, me and family. I kept looking at the sea during the journey, and at some point, I realized I was looking for some future of myself and society. The future is vague and blurry. I could not find anything on the darkest seascape but a tiny light from the far end.

 

Years later, I dreamt of the seascape while I was studying in the UK in 2018. The rage, powerlessness and panic were with me all night back then. I chose to drink to paralyze my self-doubt. Night after night, I accidentally discovered many similarities in wine and sea in terms of the shape and mood; later on, I started to make images on wine and wine glass. 

Under the framework of image-text practice, my nostalgic state of mind and imaging future based on wishful thinking has been repeatedly represented by the subversion and echo natures of image-text artwork. I challenge the misty existence of memory by manipulating the present and seek for the beacon of the future.

 
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