⋄Gaze

凝视
3-Screen Film.
Colour, sound, 12’11’’.
2021-2022





I believe that there exists some kind of “mother tongue" among the living organism that nurtured by the Earth - A form of natural perceptible communication that possesses a power transcending words. It conveys something far more profound, and its context carries a reassuring mood. "Gaze" serves as such a mother tongue. In extralinguistic communication, we gradually return as part of the environment through the gaze that transcends individual species. Thus, the touching and entwined coexistence among lives and between life and their environment has gradually been clarified.
我相信被地球孕育出的生命物质之间相互存在着一些“母语” ——一种天然可知觉到的沟通，有着超越言语的力量。它传递着更为深远的事物，它的语境有着令我安心的情态。「凝视」便是这样一种母语。在言语之外的交流中，我们从跨越物种个体的凝望间渐渐归属于环境。于是生命之间、生命和环境之间动人而缠绵的相处状态慢慢变得明晰。




The film adopts a close, eye-level perspective that places us alongside them. The multi-screen setup is conceived as a way of allowing life to move freely between images. We are here, meeting one another in the flicker of exchanged gazes.

The first chapter begins with a long, slow mutual gaze, then gradually moves closer—to its side, its everyday life—slipping into the gaps between down feathers and the rhythm of its running steps. Our gaze as viewers never disappears, yet it is ever more fully enveloped by a tender environment.
影片通过贴近而平视的视角，使我们与它们站在了一起。多屏的设计，以期实现生命自在穿梭的愿望。我们在此，在互相闪动的眼神间相遇。

第一章节从绵长缓慢的对视，一点点近到它的身旁，它的生活——深入绒羽的间隙和追逐的步伐。虽然我们作为观看的目光从未消失，却也越发被温存的环境包围。
This intoxicating scene of co-existence appears under the touch of light and echoes through the stories of fairy tales and legends. The second chapter draws on image sources of a very different kind: fragments from animated films, an old zoological setting, and a shared performance between the bird and myself.

From ancient tales to present-day landscapes, the gaze is thus gently prolonged beyond the momentary gesture of looking. I extract these scenes of interspecies companionship from Eastern and Western animation made between the 1980s and the turn of the millennium. Their motifs range from myth to folklore: beings that have repeatedly aided us throughout the evolution of civilisation, yet are often overlooked precisely because they remain silent—guardian spirits, forests, land, wild horses—offering their wholehearted devotion to all that exists.这份令人沉醉的相处图景，在光的照拂中显现，同样在童话传说的故事里回旋。第二章节借助了截然不同的图像来源：一些动画片素材，一座年代久远的动物园环境，以及我和小鸟的共同演绎。

从久远的传说到现实的风景，使凝视由此刻的动作渐渐延长。我从上世纪80年代到世纪之交的东方和西方动画中，提取出这些跨越物种的相处片段。它们的取材从神话到民间：在文明演进中总是慷慨相助于我们却往往被忽视，只因它默默不语的部分。守护神、森林、土地、野马……交与万物的真心。
In open spaces where vegetation has grown together over long stretches of time, fleeting lives drift by and intersect with a more enduring environment. And when the bird that has been called finally flies to rest upon a fingertip, we find ourselves once more believing in everything we saw as children. Every story has its source.

In the final chapter, images generated through hand-led movement take on the appearance of a comet—just as the more enduring environment and the relatively short-lived beings that pass through a single lifetime are drawn ever more tightly together in time, until something like eternity begins to show itself. The heart drifts slowly along with the light.在由悠长时间构建出的植被交融的空阔空间中，飘忽而过的短促生命和更为恒久的环境交错。而当呼唤的小鸟飞来指尖时，我们也再次相信儿时所见的一切。故事皆有源头。

由手舞图像生成的终章，带来彗星般的样貌，正如更为恒久的环境与在一世更替中相对短暂的生物，在时间中，越发紧密地交织，直至永恒的显现。心随着光芒漫溯。

Still Clip



Exhibition View



Installation view during “In the boundary-blurring coexistence space" at Mugetang Gallery, Chengdu, China, 2022
Photos: Iceylithe Bintong Wang

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