Creating a imagined universe is a solution of unsatisfaction with reality.
The systematic conflicts in human society are like tangled wool ball, in which case it’s more efficient to make a new one than trying to fix a problematic one. So all of my works are for creating a perfect new world. I want to create a space with no restrictions or artificial consciousness so as to form a condition that allows the objects within the space to determine the manner in which the space is displayed.
So in order to solve the prime conflicts in human society, I studied about post-human civilization, mainly about Cybernetics. Philosopher Ernst von Glasersfeld defines Cybernetics as “The art of creating equilibrium in a world of constraints and possibilities.” Composer Herbert Brun says Cybernetics is “The ability to cure all temporary truth of eternal triteness.”
The part in cybernetics that I think is appliable to my world is its function and efficiency. The core concept of the Cybernetics discipline is circularcausality or feedback—that is, where the outcomes of actions are taken as inputs for further action. Cybernetics is concerned with such processes however they are embodied, which is why it could be the basement of a new world.
As researching for the future society, my outlook is largely affected by art and literature works considering post-human civilisation(Cybernetics, Brave New world, Blade Runner, etc).
Working at the intersection between reality and the virtual ideal world I realised that it is humanity that leads to all the conflicts. Therefore, to create an ideal work with sequence,it is neccessary to keep every life work in harmony and order. One possible way of letting this happen is to create an ecology landscape. Then I referred to Marguerite Humeau and Pakui Hardware’s works on the post-biology visual style. They are recognisable in biological features but deconstructed and abstract enough to leave imaginary space for the public.
I’m aimed to create ecology oriented virtual reality art, which includes order, emotion and fantasy coexistence.
The tricky part in building a virtual world is to find emotional dimension in practice. My strategy is to leave visual clues from reality. These visual clues, as an effective way, enable the audience to cast their feelings in the virtual world. Under the Covid-19 circumstence, the public is desperate to transform or copy the physical reality we lose in virtual space.
But the my world applies another system. People need emotional respite from the frustrating reality. As a digital artist, I feel more necessary to make something less metaphysic, something attractive and compelling in response to why should I make art. Instead of using reality elements that the public is familiar with, its full of mysterious vitality.
Art could provide virtual space with perception in a refreshing and poetic way, which is not simply a JPEG people already seen in galleries and have been downloaded thousands of times. It is a new format of art for art institutions around the world, created to be widely spread in the cyber world.
Although my recent works are all digital, I don’t think that all art should be virtual even under this pedemic. Because I don’t want my art to be too close to the mainstream aesthetic trend. I wonder how art can provide something different from before, especially in the case where physical experience is limited? What could access to the virtual world change? To which dimention could my art develop?
The answer may lie in the future.