New attempts
Sculptures and Lamps
Plastic materials，2024 (1-2)
Due to time constraints, I did not do more material experiments. I still used the same material as the unit2 sculpture - heat shrink film to make the sculpture. This time I made a larger sculpture. This time I tried different colors. I painted all the sculptures red. But I found that even if I added a large proportion of red pigment, the final product was still very light. I could only use red lights to better achieve the feeling of fire.
light installation on plastic materials，2024 (1-2)
Regarding the lighting issue, I bought different lights to test the light and shadow effects. In this process, I found that LED lights would work better. It makes the refraction of shadows more specific. Different colors of light can be produced by matching different colored plastic sheets.
Performance Photography
the Monument 2024, Qianyi Liu, light installation on plastic sculpture, photography, 2024 (1)
I originally wanted to record the scene of me facing the fire sculpture and remembering my family. Facing this ball of fire, it was as if a channel between the two worlds was opened. I could communicate with the deceased in the spiritual world. This conveyed to the audience the idea that we can still communicate with the deceased.
Performance photography, Qianyi Liu, 2024 (-3)
However, during the shooting, I found that I and the shadow projected on the wall were a very clever combination. The shadow and I were communicating and interacting. This was more in line with the theme I wanted to express. The shadow seemed to come from heaven, and I successfully connected with it in the real world.
the Monument 2024, Qianyi Liu, light installation on plastic sculpture, photography, 2024 (2)
the Monument 2024, Qianyi Liu, light installation on plastic sculpture, photography, 2024 (3-5)
The real hand reaches out to the shadow on the wall, representing an attempt to cross the boundary and bridge the distance between the two worlds. The red background not only symbolizes the intensity of emotions and memories, but also adds a kind of vitality and vigor to the whole picture, as if suggesting a continuous effort and hope.
Although the two hands come from different dimensions or worlds, their gestures convey a desire to get closer to each other. This picture makes people feel that although there is a gap between reality and memory, past and present, as long as there is willingness and effort, this connection can be re-established. Although the contact between the hand and the shadow seems vague, there is a tenderness and expectation of touching each other. It makes people feel that even if there is an uncrossable boundary, as long as the hand is extended, the connection can still happen.
Audio
00:00:01:26
"You just left us, and the family feels empty without you. We are all trying to adapt to the days without you." 00:00:10:25
"Although mom appears strong, I know she is very sad."
00:00:16:08
"My eldest brother is repairing your old house recently. He said that this is the home you built together, and he must maintain it well."
00:00:24:00
"My youngest sister has brought the children to visit mom recently, which has brought more laughter to the house." 00:00:30:04
"My work is still so busy, but the children are very sensible. After they know what happened at home, they also care about mom."
00:00:38:21
"We will all be fine and support each other. Live as you wish. Your spirit and teachings will never be forgotten."
Adding my mother's words to my grandfather to the exhibition can add a more intimate and profound emotional layer to the entire work. The addition of audio makes my exhibition no longer a visual symbol but a scene that carries memories and emotions. It will allow the audience to not only feel it visually but also experience the emotional connection across time and space through the
transmission of sound.
Installation, 2024(1-2)
Installation
At the beginning of the installation, I followed the position of unit 2, but when I posted the photography, it was completely separated from the sculpture and video. I had to rethink how to place them. I wanted them to blend into one scene. The installation teacher Alex gave me inspiration. He moved the sculpture between the video and the photo. He adjusted the white cloth when testing the effect of light and shadow on the white cloth. At this time, I found that I could use the direction of the white cloth to connect the video
and the photo.
Regarding the position of the photos, I posted them from high to low, according to the perspective of the photos. I hope that the audience can appreciate the photos by looking up, looking straight, looking down, and following the position when watching。
Installation, 2024(8)