Some experiments
Tie each card to a chain
Write the spell on each card. Each card has a different spell
Write the spell again with a glow-in-the-dark pen to make them glow in the dark
The sculpture echoes the work
The chain with the card
The sculpture in Picture 1 is to echo the content in the projector. The reason why I make this sculpture is that I think this ritual is to capture a man's heart. In other words, to control his spirit, I chose a mesh fabric to hold the man like a fish. The chains also serve the same function, which is to bind. Each card on the chains also has a spell written on it, which also plays an important role in the ritual of making the trick. The contents of the projector thrown on the cards also produce different effects.
I hung a chain with cards and a mesh of fabric from the ceiling. The two installations interlocked with each other, in order to present a beautiful shape of the shadow cast on the wall, and echo the content of the projector, thus making the content of the projector more full and not monotonous.
works in the exhibition
works in the exhibition
These are some pictures of the exhibition. I used some installations to echo the works, in order to make the works look more full and three-dimensional. It is mainly a moving image consisting of a screen and a projector with some installations.
I get feedback and suggestions from the audience. One student's project is very similar to mine, but the form is different. Her works are presented through interactive installations. The specific use method is that each charm has its own QR code, and a machine can scan the screen to show the introduction and function of each charm.
I think this way of presentation is very special and allows the audience to participate in it and this process can give the audience a more intuitive experience and feelings, which can be referred to later.
The complete content is shown on the projector during the exhibition
In this video, I added more textual narration, in order to describe the content of this project as completely as possible. It includes the photos of real trick-making found in the research, as well as the digital works I created, partly from real records and partly from my own imagination. I hope to combine these two to create different effects and bring a more intuitive and clear visual experience to the audience.
Other works in the exhibition
Ritual of making love insanity
In this practice, I tried to use the way of reductive Gu to carry out visual communication. The scene includes the poisoned person and the tools to make the Gu, as well as the digital works played by the screen and projector and the sound effects played by the speaker. I am trying to bring more direct sensory stimulation to the audience.
Sculpture—Body
November 2022
I use this sculpture to simulate the body of the poisoned person. This body expresses the spirit of the poisoned person rather than the person himself because after the poisoning, it is the spirit that is controlled more and the appearance does not change much.
Incantation
November 2022
The spell is used in conjunction with the Poison King and other Gu-making tools to make the victim fall madly in love with the person who poisoned him. These spells also come from books.
The Mysterious Rice
November 2022
This kind of rice is usually used to drive away evil spirits, but it also plays an important role in the process of making Gu. It can be used to enhance the toxicity of the Gu and improve the efficiency of the whole process.
The cloth wrapped around the poison king
November 2022
The poison king needs to be nourished with blood during the women's period. The strip of cloth was used to wrap the king of Poison and was left to dry in the sun or in a ventilated place before being ground up and put into the man's food or underwear.
Below is a moving image consisting of a screen, a projector, and a speaker.
I think the environment of this exhibition is particularly in line with the works I present. The environment in which the work is presented seems to have existed for a long time, and it has a sense of history, and my work presents a kind of ritual, which is just right with this antiquated environment. This kind of environment has largely restored the real scene of making Gu poisons. This is a work combining moving images and installation. You can see that I have also added some tools and materials for making Gu Poisons. I put the body in a large black plastic bag and wrapped it with tape. This process also reflects the physical and mental bondage of the poisoned person.
The red worm swarm
The purple worm swarm
This is a demonstration of two different effects of the insect mass, and the reason why they are presented in two states is to express the two different states during the formation of the poison king. The red one is the state of the poison king nourished by blood in the early stage. At this time, the Poison king has just formed its vitality, which is very tenacious and needs to absorb a large amount of blood to strengthen himself. The purple one is the poison King that needs special treatment at a later stage to get the most out of it, which involves air drying or drying it and grinding it, and that's when the poison king is basically at the end of his life, and that's when it's at its most useful. So I express this process through different colors with different vividness.
The poison cell
I tried to use this video to present the shape and appearance of poisonous cells. First of all, the cells should be densely grown together and have strong mobility, so I adjusted many large and small cell-like effects. Secondly, the poison cells are not normal cells, they are toxic, so I use purple and purple tones to express the particularity of these cells. The final effect is like this. The purpose of my creation of this effect is to bring sensory fluctuations to the audience, which may be uncomfortable or beautiful. I hope to try my best to convey my thoughts to the audience through my own creation.