This work is to explore the static performance of memory in dynamic time. My friend is the protagonist in the photo, and what is recorded is a conversation between me and her about memory. This is the memory of a conversation between me and her from my viewpoint, the expression and documentation of the memory in the present time. For her, it is the experience she recalled in the past, and the memories that happened in the past are recorded through her facial expressions. The feelings you have when you see this work are memories that happened in the future.
Duan, JX. (2021) I think what I think [oil painting].
150 x 140 cm
Camberwell, London
Sort of images of work in a gallery situation
A confrontation between the forces of grown-up logic and the bottomless psyche of a child
Tanning described her work as depicting “a confrontation between the forces of grown-up logic and the bottomless psyche of a child” in a 2005 interview with Jennifer Mundy. (Tanning, 2019) This confrontation is like a confrontation between reality and fantasy content in the memory. Memories rotted away from the erosion of time, and lost those vivid details and began to mix into a fuzzy, chaotic mass. Memories happen in time but also are forgotten in time. This kind of powerlessness is in my creation, and I want to present it with a fleeting beauty. So I chose to combine programming to present and narrate my work. I collaborated with interaction designer GriffinKoo, creating a programming language by MAX/MSP software program and then projected it on my painting. The movements and sounds of the audience, through the programme, generate changes and shifts in the quality and colour of the images projected.
Tanning’s painting‘Children’s Games’ (1942)
GIF of 'Beyond Scared"
Mixed Media
170x150cm
Jiaxin Duan
2021
Reference:
Tanning, D. (2019) DOROTHEA TANNING. Available at: https://fadmagazine.com/2019/03/27/dorothea-tanning/ (Accessed: 22 Aug 2021).