⋄Sundial Traces
日晷的痕迹
Animation.
Colour, sound, 1:59
2021
This animation originates from the digital model of Pavilion Is on the Land Where the Snow Has Not Yet Disappeared | 亭在积雪未消的土地上 (2020–2022). I seem always to be unconsciously drawn to certain irregular moments: the viewpoint is extremely close, even allowing the gaze to pass through them. In this way, their originally fixed and concrete forms become blurred, turning organic, soft, and alive.
The animation is composed of the pavilion, water, flying birds, and a boundless environment. Taking the ebb and flow of the tide as its temporal nodes, the rising and disappearance of the pavilion, the appearance of the birds, the traces of the sundial, the sand, the currents of water, and the light eventually slip beyond my control within time, becoming presences whose gaze can be sensed. The repeated alternation flowing among us, it, and the scene behind it ultimately allows the latent world guided forth by this process to enter. The final image of the video appears empty, yet it contains a promise: everything that came before belongs to what it promises. There is no need for these things to be made visible; inwardly, one already knows that they are all there. Without explicitly stating anything, it reflects an inner image: flow, the boundaryless penetration between materials, vitality...
该动画源自Pavilion Is on the Land Where the Snow Has Not yet Disappeared｜ 亭在积雪未消的土地上（2020-2022）的数字模型。我似乎总会无意识地关注一些非规则的瞬间，视角十分贴近，甚至允许穿透，因为如此它们原本固定而具体的形象被模糊了，变得有机、柔软，带有生命。
动画由亭、水、飞鸟和无边无际的环境组成。以潮水的涨落为节点，亭的升起与消失，飞鸟的出现，以及日晷的痕迹，沙地，水流和光，它们最终在时间中脱离于我的控制，成为了能感受到其目光的存在。我们，它，和背后的场景，在三者间反复流淌的交替，最终使由此引领的潜在世界得以进入。影像最后的图景，看起来空无一物，但是它包含许诺，在此之前的那一切都是它的应许之物，无需显现但内心已知它们都在那里。没有具体明说任何事，却映射着心象：流淌、物质间没有界限地穿透、生命性……
Still Image
Process