As an immigrant, the past and current living conditions of people like me always draw attention and stir up emotions; However, the recently revealed graves urges me to reexam the early period of the state and the legacy that has been left to the indigenous people from a distinctive perspective as a non-indigenous witness. As a descendant of an ancient nation, I understand how much the traditional ceremonies mean to the indigenous peoples in North America. They express their emotions and understandings about life and death in their cultures. Through singing and the rhythm of drumming, the spirits of the deceased are comforted so that they are able to rest in peace. This became the starting point to develop concepts of The Altar I.
The Altar II
The original intention to start this self-directed project was because of an installation by Zhou Wenjing, a Chinese artist called “Women Series – IUD”, 2014. The theme reveals and reexams the history of how generations of women were affected by the forcibly inserted Intra-Uterine-Devices under the “One Child Policy” from 1980 to 2015. According to the World Health Organization, China is home to two-thirds of the world's women who wear IUD devices. In 2016, a study outlines that there are 26 million women need to remove the IUD from their uteruses in the coming 10 years. My mother had a ring inserted herself after giving birth to me in the late 1970s as did Zhou’s mother did in 1990 as a form of contraception. Unfortunately, most of the women have never been educated that an IUD can only be used in the body for a maximum of twenty years, and the forgotten birth control ring in the body will always remind them of its existence in a painful and bleeding way. The absence of government responsibility conflicts to the way how advocated the sterilization policy which every female could not escape at the time due to coercion.
Conceptual GIF | 2020 Link: https://youtu.be/4iKG-UJAAHc How does information change our lives and how much do our lives depend on it? The sequence of images of monitors and screens with no signal and 404 signs are collected as albums to call up such questions by showing the emptiness on the information terminal that are appropriating from resources, such as old TV, broken computer and the inaccessible web pages. With the serials of footage of “nothing” in the frames and letting them auto switchover, the clip continuously demonstrates the absence of information. Thus, the contrast between the devices of information center and the nonappearance of information start building up the tension. With following in rapid succession, the high occurrence frequency of the monitors and screens with no signal arouses anxiety and frustration that caused by the annoying static noise. The abstract pictures with ocular “white noise” constantly impact on people’s nerves, amplifying the feelings of unease and perturbation, which leads to a sense of absurdity that the unfunctional visual displays ironically presents. It is maximizing the tensity between expectation and despondency. The monotone of the most of images keep delivering the message of ineffectiveness, emphasizing the desolateness of a world without accessing to information. The segment of moving images of no signal raises viewer’s curiosity to investigate what lies behind the non-nutritive images. Meanwhile, it stimulates pondering about the significances of this appropriation which reflects the heavy reliance that contemporary people have on the external information.