Mycelial Dialogues 「菌絲對話」 - 2024
Royal College of Art_MA Photography_Term 1_Final
This project delves into the dynamic interplay between traces and restoration within the life cycle, merging personal narratives with ecological metaphors. Centered around a crab specimen and cultivated mycelium, the work explores themes of regeneration, decay, and the transience of existence. The crab symbolizes fragility and the potential for renewal, while the mycelium manifests as a visual and organic representation of repair—absorbing, transforming, and ultimately dissolving the physical remnants it inhabits.
Deeply rooted in the artist's lived experience, the project reflects a journey of healing and introspection. A childhood injury resulting in a fragmented left elbow left physical scars that became a source of vulnerability and self-awareness. The crab, as an arthropod capable of limb regeneration, serves as a poignant metaphor for the artist's yearning for restoration. The mycelium, thriving yet susceptible to external forces, externalizes the artist’s emotional and philosophical contemplation on self-repair and impermanence.
The photographic documentation captures the evolving interaction between the crab shell and the growing mycelium. Through time-lapse and static imagery, the work highlights the fragile balance between destruction and regeneration, inviting viewers to consider the impermanence inherent in both natural processes and human existence.
By intertwining symbolic materials with personal and ecological narratives, Traces and Restoration offers a nuanced perspective on the act of healing, posing broader questions about the interconnectedness of life, death, and the scars that define both.
本作品探討生命循環中痕跡與修復之間的動態關係,以螃蟹標本與菌絲體為核心媒材,構築一個融合自然與自我情感的敘事空間。螃蟹標本象徵生命的脆弱與再生的潛能,菌絲體則作為一種修復的有機體,以其獨特的生命哲學展現修復過程中的吸收與消解、生命與衰亡的交替循環。
靈感來源於藝術家個人經歷,其童年因左手粉碎性骨折而留下的疤痕,成為了對修復與再生的渴望象徵。螃蟹作為具備斷肢再生能力的節肢生物,與藝術家的身體經驗產生隱喻性的連結,而菌絲體的生長過程則進一步將這一情感外化,將痕跡轉化為視覺上的生命形態。
作品的呈現包括標本培育過程的定時拍攝與靜態影像,通過菌絲體在標本表面的吸收與感染過程,揭示修復本身的脆弱性與無常性。同時,這也引發觀者對生物共生關係及自然界生命循環的深刻反思,讓人重新審視痕跡作為一種存在的證明及修復的可能性。
通過材料的象徵性結合及情感敘事,《痕跡與修復》既是對個體創傷與重建的探索,也是對生命與死亡、修復與破壞之間永恆動態的思辨。
The Fallen Land 「 天墜之地 」 2024.12
Frames above the Horizon 2024 - ...
Mustard 「芥子」 - 2023
“Mustard(芥子)” is a theme that diverges from the conventional under- standing of time. Through my experience of raising reptiles, I have per- sonally witnessed the beginning and end of life. Each species has its lim- ited lifespan. This experience has made me acutely aware of the fragility and impermanence of life, recognizing the relentless yet precious flow of time. Among these creatures, there are not only my pets, but also pets once owned by friends, even animal remains found in the wild, and some realis- tic toys. Every single individual among them, for me, is a real existence in this world, a life sharing the wondrous presence of life and time. Their brief existence, compared to my long life, is merely a fleeting moment. This jour- ney has instilled in me a deeper appreciation for each passing moment and the importance of harmonizing with the natural environment.
Through observing, documenting living beings, or creating specimens of lifeless species and capturing them in photographs, I strive to eternally capture these creatures in images. Additionally, I reintegrate the specimens back into nature, reconnecting them with the pulse of the natural world. Throughout this process, I have felt a profound connection between myself, living beings, and the natural world, sparking profound reflections on the meaning of life and the relationship between humanity and nature. It guides me to contemplate the fleeting and ever-changing nature of each life, akin to a grain of sand in this vast universe, just as it is in Buddhist philosophy with “(芥子纳须弥)a mustard seed’s worth of space containing the entire universe.” Humanity, too, exists in nature in this way. Despite our gradual detachment from the primal natural environment, we remain closely inter- twined with it. Through such commemorative approaches, it demonstrates my attitude of respecting and cherishing life, simultaneously deepening my understanding of the interconnectedness of life and the cycles of nature.
「芥子」是一個以時間的理解與常人不同為出發點的主題。在我飼養爬寵的過程中,我親身體驗了生命的開始和結束,每個物種都有其有限的壽命。這個經驗讓我深刻感受到生命的脆弱和無常,並意識到時間的流逝是無情而珍貴的。這些生物裡不僅有我的寵物,也有朋友曾經飼養的寵物,還有野外撿到的動物尸體,甚至有一些仿真玩具。他們中的每一個個體對我而言,都是真實存在與這個世界的生命,更是與我分享生命和時間奇妙存在的生物。他們的短暫存在與我漫長一生相比只是一瞬間。這段經歷讓我更加珍惜每一個當下,並重視與自然環境的和諧相處。
我以觀察記錄活物,或製作死物標本並拍攝照片的方式,試圖將這些生物永恆地凝視在影像中。而且,我還製作的標本帶到自然中,將它們重新融入自然的脈動。在此過程中,我深切感受到自身,生物,與自然息息相關的連結,從而誘發我深入思考生命的意義以及人類與自然的關係。它引導我思考每一個生命的短暫、變幻無常而又渺小,如這大千世界中一粒沙土,正如佛門中“芥子納須彌”,人類在自然中亦是如此。儘管人類逐漸脫離原始的自然環境,但我們仍與自然密切相連。透過這樣的紀念方式,展現我尊重和珍惜生命的態度,同時也讓我更深刻地理解生命與自然循環的關係。
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