Rebirth
film book/installation
2019

The procedure itself taught the models to live inside rather than outside the moment

The synthesis of expression brought about by the length of time that a model has to stand still', says Orlik of the early photography, ' is the main reason why these pictures, apart from their simplicity, resemble well-drawn or painted portraits and have a more penetrating and lasting effect on the spectator than more recent photography'. 

The procedure itself taught the models to live inside rather than outside the moment.——Walter Benjamin

 

The introduction of mediums such as photography initiated a new divergency of image representation, conforming to a meta basis of mechanical/industrial revolution. 

The work takes the form of a book, a relatively traditional medium attempting to accommodate rebirth and proliferation within the film. I work with extended exposure, allowing the cartridges to absorb an equal amount of light as the match stick in its duration to burn out completely. 

The subjective agent being photographed which, in this case, is the match stick, is equipped with full control over the length of exposure and the image produced. The objective agent-the reversal film then projects the image back into the matchbox. 

Both matchboxes captures the same moment with two different mediums, leaving one behind, reconstructing while entering a new cycle.

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十九世纪随着殖民主义的拓展，西方用一种新型的技术将东方的天人世界击碎，将其暴露在机械中，即摄影。本雅明在《摄影小记》中提到 “曝光过程使得被拍者并非活’出’了留影的瞬间之外，而是活‘入’了其中：在长时的曝光过程里，他们仿佛进到影像里定居了。” 摄影等新媒介的出现打破了灵光的固有场域，并使其渐渐消逝在机械复制的革命中。

该作品以“书”此类传统的媒介形式，试图将灵光重燃于胶片中，艺术家将旁轴相机的进光量时长与火柴燃烧时长同步，由此被拍摄的主体—火柴可控制自身曝光时长和最终形成的图像，使灵光的闪现时间进行达到量化的叠加，由反转片直接成像后重新放回火柴盒内，该作品以不同媒介对同一时刻进行捕捉，它冲破自身而出，又将自身包围，并形成新的轮回。