Projects
Ye Di (叶底), my grandmother’s name, also means the underside of a leaf. The project began at my parents’ home, where, instead of photographing my family directly, I turned my attention to their belongings and the ways objects had been placed, arranged, displayed, or hidden.
I began to think of these arrangements as a kind of grammar: just as words gain meaning through their relationship to one another, objects can begin to carry meaning through position, repetition, alignment, concealment, and distance. In this sense, the home becomes a living archive, where everyday arrangements quietly reflect care, authority, intimacy, and family relationships.
I began to think of these arrangements as a kind of grammar: just as words gain meaning through their relationship to one another, objects can begin to carry meaning through position, repetition, alignment, concealment, and distance. In this sense, the home becomes a living archive, where everyday arrangements quietly reflect care, authority, intimacy, and family relationships.
This work approaches photography as a form of visual meditation and a method of editing time.
An ice cube is first photographed on instant film at a moment of apparent completeness, becoming a small monument to preservation. Using the same large-format camera and lens, I then return to the subject with a digital back. Its smaller frame records only partial views, while repeated exposures trace the ice as it melts.
The tension between the singular completeness of the instant photograph and the repeated partial views of the digital sequence shapes the project. Through layering and reassembly, separate moments are reorganised within a single image. Extending from objects to landscapes, the work asks how photography can witness change and hold memory without claiming to stop time.
An ice cube is first photographed on instant film at a moment of apparent completeness, becoming a small monument to preservation. Using the same large-format camera and lens, I then return to the subject with a digital back. Its smaller frame records only partial views, while repeated exposures trace the ice as it melts.
The tension between the singular completeness of the instant photograph and the repeated partial views of the digital sequence shapes the project. Through layering and reassembly, separate moments are reorganised within a single image. Extending from objects to landscapes, the work asks how photography can witness change and hold memory without claiming to stop time.
difference from my imagination. There, under the tree, I photographed an apple after eating hundreds of them.
Stepping into the gap between images and language, "Roaming under the Apple Tree" presents my exploration of photography. It questions the purpose of capturing daily moments. Alongside this journey of self-challenge, I explore the potential of using photography as a visual meditation method.
After two months of the experiment, we both failed in this attempt to find peace.