Matrix

The inspiration came from moments when I thought about something my eyes would stare at in one place. Although sometimes I would wander around, there would always be objects in the blind sight of my vision, and I started to think about whether the things outside the line of sight existed. I researched the range of sight of people. The range of people's sight is 120 degrees, and objects in the peripheral vision range of 120-188 degrees are blurred so that the object's shape is indeterminate, which became the first step in my conception of the work. The visual presentation required a distinction between two lines of sight. Based on the research on materialism, idealism, and existentialism, my cognition of things is more inclined to idealism in this work. I believe things exist objectively, but when my vision cannot capture them, they no longer have significance in existence from consciousness. In the book ‘Formalism in Plastic Arts’, it is mentioned that three-dimensional objects are a two-dimensional plane in human eyes and memory, and the blind areas of vision are mostly shaped by subjective feelings. I present the perceptual form of consciousness in a practical form and the installation shows the existence form of the objects in consciousness in the way of visualization.

Regarding visual presentation, artist Heather Phillipson's work "Rupture No.1: Blowtorching the bitten peach" creates a system mechanism by combining images, digital, and objects. This work brought me the idea of combining electronic products and installations.

The initial idea is to simulate human sight in one space and divide the space into a 120-degree area, a 120-188-degree area, and an area other than 188 degrees. But because it was more intuitive, I abstracted the visual processing.

The installation presented as a combination of two different areas. Through the principle of refraction, all objects that can be captured by sight are gathered together into white color. I chose quilt, canvas, and black paper as materials, which constitute the captured objects of the line of sight. The canvas and soft black paper embellished on the quilt represented the object's existence and meaning, which a gentle touch can perceive. The connected copper wires represented the traces of objects moving in space, out of sight, physically presented but can not be perceptible, with a hard touch and imperceptible black to represent them in a stable and fixed status.

I combined images into the installation. The images on the screen recorded the things I observed daily. I used the side of the screen as a fixed point for the audience to divide the line of sight.

This work is created from the abandoned quilt and pillow, canvas, soft black paper, copper wires, and screens—the images on the screen record what people observe with their naked eyes. Since the range of people's sight is 120 degrees, objects in the peripheral vision range of 120-188 degrees are blurred so that the object's shape is indeterminate.

I created the work to explore whether things outside the line of sight have existential meanings. Things exist from the perspective of matter, but when they are outside the line of sight, I think their meaning becomes dissipated. The traces of movement of things are preserved, but the consciousnesses are hard to capture.