This is one of my favorite books,The artist book,Laure Prouvost. The book likes a sketch. The artist’s drive,the artist and drugs, being misunderstood, the artist’s only love, the forgotten artist,depression and the artist’s secret are interesting title of each chapter. Some images are scratched out and some images with naughty words, which all in a loose narrative.

Meanwhile,some sentences like a diary.
‘I liked the film.When I watched the flames I felt comfortable.It felt relaxing like I was paralysed.The story is like a new galaxy, a new world, with nice sound and picture. It was a very good designer who put it together. When you’re talking, you are taking people inside, you’re listening to everything.You take the inside of the people. I can watch stories like this any time.
I think it would be good to show this film to everyone.It would be good see it in the cinema, like an action movie. When I first saw the film, I saw flames, the seaside, people, a tray,water. Afterward, I thought that you needed a different type of design, something Victorian, something old-fashioned, so I made the tray from metal,by hand.’

When I look at these words, It awakes many of the subtle aspects of my visual intuition.

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Dave Charlesworth gaves me four references or artists, which are related to my work. I did some research about his recommendations.

Hans Peter Feldman

All the Clothes of a Woman 1970 Hans-Peter Feldmann born 1941 Presented by Tate Members 2010

All the Clothes of a Woman 1970 Hans-Peter Feldmann born 1941 Presented by Tate Members 2010

Bernd Behr


Installation shot, COMMA17: Bernd Behr & COMMA18: Charlotte Moth, Bloomberg SPACE, January 2010.

 Douglas Heubler


Duration Piece #11, Bradford, Massachusetts, 1969 Douglas Huebler (American, 1924–1997)

Dominic Hawgood


Dominic Hawgood: Under The Influence

I was influenced by these artists’ work a lot. They all tried to make a series of conversations in art. They did different ways to present their ideas but their works are very effective. This kind of installation likes talk a story to others. It could be an integrated story or some fragments of memory. But they are very powerful to represent something in an art way.

I found an artist who is an MA photographer student in the Central Saint Martins. She creates an installation of the moving image and still image, which is very related to my recent work.

Detachment, photography and projection, 2014
Installation view 1

video link:

In my point of view, this kind of expressive form is highly sensitive. Sometimes, it is a good way to present delicate emotion of a specific aspect.At the same time, It looks very ambiguous as well. For me, I am preparing for creative collage in terms of a combination or still image and moving image. It could be ironic in some way but completely ambiguous.



video link:

Miroslav Tichý (1926 – 2011) is a well-regarded photographer on the gallery circuit; the late Czech artist won Rencontres d’Arles’ 2005 New Discovery Award, and has had his work shown around the world.

However, at the time of their exposure, both Tichý ‘s subject matter and photographic techniques placed his images well outside of the artistic mainstream. Having studied at the Academy of Fine Arts in Prague, Tichý became disillusioned with the Soviet arts establishment, and went onto become something of a peeping tom as well as a political dissident.

Today however, in an age of digital fidelity and online titillation, Tichý’s  vernacular film exposures take on a poetic charm, while the sheer variety of the women he photographed – shop assistants, beauty queens, quite ordinary girls sunbathing – mitigates at least some of the accusations of perversion that have come his way. As we reported back in March, his work was well received at last year’s Moscow Photo Biennale and prints have become hot property among collectors.

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This kind of ambiguous images creates peculiar visual effect. I really like these images by Miroslav Tichý. It seems that each photograph within many uncertain elements, which bring more imaginative interspace. I highly prefer to this kind of uncertainty and ambiguity in artwork.

More and more artists choose to try different materials for their creative works. I have to admit that some of them are very visible and powerful for art work. In my point of view, these materials like a background for art story.In the mean time, they are bringing extra concepts in art works, which are abundant and amusing more than art work of monotonous element.

Graham Rich(British;born 1945)
An installation
Found objects and marine paint



The artist draws a series of paintings on the many physical objects that are founded. I like these collections and creative forms of theme painting.

Chang Kyum Kim
Water shadow four seasons2,2013-2014
Video installation 13:17 min

This artwork brings vivid seasons at the front of the audience. We can note that the change of seasons are appeared naturally. Artist makes a nice combination of images and extra physical materials. Such as water, stone. This kind of expressive form is quite illusive and ambiguous but is full of poetic atmosphere.



Interview with artist

In the past, I was trying to put two videos on the opposite wall, which could be a conversation between different contents of video. Meanwhile, I did not to define the complete structure for the videos. I hope audience can find some interesting concept by themselves. I found an art work, which highly be close to my idea of two videos for a dialogue. From the view of form, the artist got alluring images in his film but they are deliberately not linked one to others, which are very ambiguous.

Sebastian Diaz Morales
2 screens video installation / sound on headphones / digital video transferred to DVD / 11 min / 2009

Produced by HERMES



Primarily known for his film work, Luke Fowler’s Two-Frame Films explores the relationship between the artist and the still-image. Fowler uses a half-frame camera whose obsolescent format forces the printing of two images in one standard 35 mm frame. Considered as a whole, the paired images reveal an event unfolding – a meaningful narrative posed by photographic sets, sometimes close in temporal proximity (the blink of time passing, perhaps), while at other times, the intervals are more expansive, challenging the viewer to connect visible terminal points in a satisfying way.

Fowler experimented with different film stocks, subjects and framing, and the images are inextricably linked to his filmmaking as evidenced by the elements of montage, colour and reflectivity that permeate the series. In both still and moving image, Fowler considers how an event might be abstracted by the camera apparatus in a subjective ordering of reality that is emphasised by the dialectic between paired images. The photographs are a means of personally testing the ability of the camera to authentically bear witness to an event, and its fallibility as a medium of representation.

Luke Fowler is a Scottish artist and filmmaker, creating cinematic collages that reference the British Free Cinema movement of the 1950s, and documentary films. In 2012 he was nominated for the Turner Prize for a film exploring the life and work of Scottish psychiatrist R. D. Laing.



Luke Fowler’s cenimatic collage work only cintains two frames, which is very interseting and impressive. I also want to use two pieces to creating collage via multimedia as much as possible.