In ancient lore, some hailed it as a harbinger of grace, others cursed it as a celestial omen.


The Cosmics Tear 流星

Meteor: A Dual-Faced Existence—Blessing or Curse

In ancient times, meteors were often seen as omens bearing dual meanings. Some regarded them as symbols of blessing and fortune, while others feared them as curses cast from the heavens. Their fleeting appearance—brilliant yet transient—mirrors the human experience of chasing desire and a sense of wholeness, only to encounter loss and descent. The meteor, then, becomes both a beacon of hope and a signifier of impermanence and dissolution. Its swift trajectory and blazing intensity embody a momentum that, once initiated, cannot be reversed.

This body of work begins with the philosophical metaphor of “falling,” exploring the emotional resonance of free fall and groundlessness. In today’s era of information overload and hyper-digitization, individuals often find themselves suspended in a state of disorientation—rootless, lacking reference, and emotionally weightless. This experience of “groundlessness” leaves the self adrift in ever-shifting societal values, with no stable support. Meteor conveys this emotional state through poetic images and text, symbolizing the longing for a past when identity and stability were more coherent, while also confronting the brutal truth that such a sense of stability may no longer be recoverable. The allure of desire and jouissance compels the subject into an uncontrollable descent into the unknown, with emotional scars and identity disintegration as inevitable consequences.

Yet within this act of “falling,” the work seeks to capture the potential for rebirth and reconstruction amid fragmentation. Behind the blurred visuals lies a symbolic gesture of emotional deconstruction and a longing for regeneration. Through this fractured visuality, the individual may find, within the experience of groundlessness and free fall, a renewed inner balance and the possibility of transformation. The meteor’s flare, while indicative of destruction, also casts light on rebirth—a glimpse of hope in fragmentation, a courage to rediscover the self and redefine meaning in life.

The fleeting nature of emotional movement mirrors the transience of meteors. Meteor becomes a meditation on the modern condition of emotional and identity instability. Through a subjective lens, it presents the contradictions and tensions individuals endure in their pursuit of jouissance, freedom, and liberation. It is both a personal narrative of contemporary emotional states and a philosophical reflection on the entanglement between falling and emancipation. The work invites viewers to stand under this “meteor shower” and re-examine the significance of emotional life and its connection to the world.



流星，作为一体两面的存在，在古代有人称其为福祉与幸运，也有人认为是天降凶兆的诅咒。它瞬间闪现又迅速消逝的状态，恰似人类在追逐欲望与完整感时所经历的失落与坠落。它既是希望的象征，也代表着无常与消解。正如流星的生命一般，极致速率带来的燃烧，也正踏入一种无力回头的境地。

作品从“坠落”这一哲学隐喻出发，探索了自由落体与无地性所带来的情感体验。在当今信息爆炸、数字化过度的社会中，个体的情感和认同常常陷入一种无根基、失去参照点的“失重”状态，仿佛漂浮于“无地性”的空虚中。没有固定的支撑，个体在不断变化的社会价值观中迷失自我。《流星》通过诗意化的影像与文字，传递这一情感体验——它象征着对过去存在的稳定性完整回忆的渴望，同时也揭示了这一稳定性渴望在未来是无法复现的残酷事实。欲望与享乐的诱惑让个体被迫向无法掌控的未知领域坠落，情感的伤痕与身份的迷失成为必然的后果。

然而，这场“坠落”中，作品试图捕捉的正是那种碎片化后的重生与重构的力量。在模糊的影像背后，隐藏着一种情感的视觉解构与重生渴望的象征。通过这一破碎的视觉状态，个体有机会在无地性和自由落体的过程中，找回个体内心的某种平衡和新生的可能。流星的闪烁不仅代表着毁灭，它同时映照出一种重生的希望，一种在破碎中找回自我、重新定义生活意义的勇气。

个体情感的流动的无常一如流星般转瞬即逝，《流星》是对现代社会中个体情感与身份认同的探讨，以主观视角呈现了个体在追求享乐、自由与解放的过程中所经历的矛盾与冲突。它是对当代个体情绪的主观叙事，也是对“坠落”与“解放”交织的一种思考，邀请观众在这片“流星雨”下重新审视个体情感与世界之于生活的链接意义。



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家系图谱：成为介质


我们习惯将媒介理解为图像、语言或物，将其视为传递思想与经验的工具。然而，本项目提出另一种视角：人本身亦可被理解为一种媒介。身体、记忆、生活选择以及个体所经历的一切，均可被视为时代信息在个体之中的沉积与流动。

“成为介质”构成了本次展览的核心方法论。它既指向艺术家如何通过静物摄影介入历史性的存在，也指向观者在无意识中已承担的媒介角色。个体不仅拥有经验，也承载经验。在与空间的互动、与物的共处以及与时间的共振之中，人逐渐转化为一种连接结构，将过去、当下与未来贯通。

当视线投向“家”这一场域，所呈现的并非单纯的空间与陈设。物的表面纹理、光线的停驻轨迹，以及残留其间的气息与记忆，共同构成了一种复杂的感知结构。在“物”与“人”、“记忆”与“时间”的静默对话中，一种隐性的历史经验得以显现。

本项目源于艺术家一次偶然的置业经历。该空间为一处位于上海的20世纪80年代住宅，虽非家族祖屋，却承接了家族居住史的延续。房屋未经翻修，保留着上一位居住者的生活痕迹。室内器物——木柜、瓷器、灯具与日常器皿——与艺术家的祖辈处于相似的时代语境，尽管彼此陌生，却在生活质感与时间气息中形成一种跨越性的关联。

正是这种距离，使艺术家得以暂时悬置私人记忆的干扰，将摄影作为方法，转向物之自身的历史语境与公共感知。通过一种去主体化的观看方式，影像不再服务于个人叙述，而成为观者与艺术家共享的感知界面。在他者的生活遗存之中，一个时代如何塑造家庭、空间与物的关系得以被重新观察。

展览中的作品均为黑色背景下的静物摄影。图像以近似类型学的方式组织，呈现出一种近乎考古学的凝视。器物不再作为收藏对象或叙事道具存在，而被转化为时间雕刻下的“情感地层”。其表层质地与内在温度在影像中被重新显影。

摄影在此不仅记录物的形态，也揭示经验如何沉积于人与物的关系之中。这组作品构建出一种克制而冷静的“心理风景”，使情感与文化记忆在日常物件中显现其隐秘流动。每一件器物都曾被使用、修补与凝视，它们既是生活的参与者，也是情感的传递者。

在拍摄过程中，艺术家逐渐意识到一种在当代加速语境中逐步消退的生活态度：对物的珍视，以及将日常用品视为陪伴者的情感维度。这种朴素而持续的生活伦理，体现了上一代人面对有限资源时对生活秩序的维护与回应。静物所映射的，是一种以节制与耐心构建温度的方式。

展览标题《成为介质》引入了“Mediumorphosis（媒介流变）”这一概念。该词由“medium”与“metamorphosis”构成，指向媒介属性在不同层面中的转化过程。它既描述了器物在影像中的再语境化，也指向个体在时间、空间与记忆交汇中逐渐转化为媒介的状态。

在这一框架下，个体不再仅是经验的拥有者，而成为经验的承载结构与传递路径。当个体转化为媒介，观看亦发生转向：通过他者之物，个体得以回望自身；当经验转化为形式，私人记忆转译为公共感知；当器物转化为记忆结构，其功能性被超越，成为集体经验的载体。

在图像高速生产与信息过载的当下，意义的获取趋向于即时与表层。本项目试图重建一种缓慢的观看机制，使观者重新感知媒介的形态、温度与伦理维度。在展览现场，观者被邀请以“媒介”的身份进入，通过感知与记忆的交互，重新建立与世界的联系。

当观看不再是占有与记录，而成为一种穿行与承载，艺术家与观者在影像中形成并置关系。影像空间由此转化为一个关于记忆的共振场域。原本属于他者的生活遗存，在此刻成为连接个体经验的公共场所。

这些器物承载着特定时代的生活方式、审美取向与情感结构。在时间的磨损中，它们保留了关于“如何生活”的具体回应。在不断更新与消费的语境之中，这些回应仍具备被重新理解的价值。

在这些静物影像之中，个体不再处于外部位置，而被纳入历史与经验的流动之中。人被唤起、被连接，并在无形中被转化为媒介。作为记忆的容器、经验的延续体与时间的传递者，个体得以在影像中看见时代如何穿越自身。


We often understand media as images, language, or objects—external tools through which thought and experience are transmitted. This project proposes an alternative proposition: the human itself may be understood as a medium. The body, memory, lived experience, and individual choices function as sites where historical and cultural information is inscribed, circulated, and transformed.

“Becoming Medium” serves as the central methodological shift of this exhibition. It addresses both the artist’s engagement with historical presence through still-life photography and the viewer’s implicit role as a carrier of experience. The individual does not merely possess experience but embodies it. Through interactions with space, objects, and temporal conditions, one gradually assumes a mediating function that connects past, present, and future.

When attention turns toward the domestic space, what emerges extends beyond physical interiors or material arrangements. Surfaces, textures, traces of light, and residual atmospheres together construct a layered perceptual field. Within the silent interplay between object and subject, memory and time, latent historical structures begin to surface.

The project originates from the artist’s encounter with a residential space in Shanghai dating back to the 1980s. Although not an ancestral home, it carries forward a familial continuity through generational transition. The apartment remains unrestored, preserving the material traces of its previous inhabitant. Objects within the space—wooden cabinets, ceramics, lighting fixtures, and everyday utensils—belong to a shared historical condition aligned with that of the artist’s grandparents. Despite the absence of direct personal connection, a form of temporal familiarity emerges.

This distance allows the artist to suspend subjective memory and approach the objects through a more detached observational framework. Photography becomes a method for engaging with the historical and collective dimensions embedded in material culture. The resulting images do not function as personal narratives but as shared perceptual interfaces through which both artist and viewer encounter a broader temporal condition.

All works in the exhibition are still-life photographs set against black backgrounds. The images are organized through an almost typological structure, invoking an archaeological mode of attention. Objects are neither displayed as collectibles nor as narrative devices. Instead, they appear as “emotional strata,” shaped by time and rearticulated through the photographic surface.

Photography here does not merely document form; it reveals how experience accumulates within the folds between human and object. The series constructs a restrained and contemplative “psychological landscape,” in which cultural memory and affect circulate through everyday materials. Each object bears traces of use, repair, and attention, functioning simultaneously as a participant in life and as a carrier of emotion.

During the process, the artist recognizes a mode of living that is gradually receding within contemporary accelerated systems: a sensibility that values objects and regards them as companions rather than disposable tools. This understated yet enduring ethic reflects a generational response to limited resources, forming a quiet but resolute structure of care and continuity.

The exhibition introduces the term Mediumorphosis—a conceptual synthesis of “medium” and “metamorphosis.” It describes both the transformation of objects within the photographic context and the process through which individuals themselves become mediating entities within intersections of time, space, and memory.

Within this framework, the individual shifts from being an owner of experience to a carrier and transmitter of it. As one becomes a medium, perception is reoriented: through encountering the objects of others, one reflects upon one’s own life; as experience transforms into form, private memory becomes translatable into shared perception; as objects become structures of memory, their functional role is surpassed, and they assume the capacity to hold collective experience.

In an era defined by the rapid production and consumption of images, meaning is often accessed through immediacy. This project proposes a slower mode of engagement, foregrounding the material, affective, and ethical dimensions of mediation. Within the exhibition space, viewers are invited to recognize themselves as mediums, activating connections between memory and perception.

When observation shifts from possession to participation, both artist and viewer enter a shared field of resonance. The space ceases to belong to a singular subject and instead becomes a site of collective memory. What once constituted the remnants of another life is transformed into a relational structure that connects multiple temporalities.

These objects embody the lifestyle, aesthetic sensibilities, and emotional structures of a particular historical moment. Despite the erosion of time, they retain responses to the fundamental question of how to live. Within contemporary conditions of constant renewal, such responses remain worthy of sustained attention and reinterpretation.

Through these images, the individual is no longer positioned as an external observer but becomes embedded within the جریان of history and experience. One is activated, connected, and gradually transformed into a medium—serving as a vessel of memory, a conduit of history, and a continuation of lived experience. Within these still-life images, one encounters how time itself has passed through us.

2025