HUACK TUH
FELIX C MELIA （英国）
城市如同一个巨大的电影拍摄现场。一个无限度的网状转换的开端，它的建筑风格和结构已被重造,这使得一系列变化得以描述，但是建造的速度让附加在其上的浪漫主义色彩和怀旧感已不复存在。反而，建筑架构的截面和废墟，记忆的丧失和文化的衍生通过古老的长江迷雾和水泥灰尘烟雾预示着一系列的非凡时刻。
这些现象使得重庆这座城市不断的呈现着某种适应了的流动性。它们促使了一种流动性和和谐的力量存在于形式的与非形式的事件中。我的作品着眼于对这样
The city behaves like a vast movie-set. An open-ended mesh of transforming thresholds, its architecture and infrastructure are readily reconfigured to allow for a changing set of narratives, but the speed of construction prevents the attachment of romantic or nostalgic associations. Instead a cross section of architectural skeletons and ruins, memory loss and cultural derivatives signify a system of singular moments bound only by a mixture of ancient Yangtze fog and cement dust smog.
These phenomena make Chongqing a city geared towards mobility. They render a fluidity and harmony between formal and informal events. My works are in keeping with this dynamic.
GEORGINA NORRIS（英国）
重庆的菜市场以其如棋盘般的布局展现了消费或竞争的现实可行性。它以清晰的，直接的，具有功能性的方式对商品化展现了一种黑色幽默般的描述，这种幽默通过松散的，超现实的形式的在修正及增强着记忆。
缺失和想象的记忆通过抽象和修饰而唤起，在反复回顾中，再次修改和重新配置的个人经历正趋于同化。
Chongqing’s meat markets and games stands illustrate the practicalities of display for consumption or competition. A clear, direct and functional approach to commercial presentation holds a dark humour, a humour that is intensified within the loose, surreal form of a revised memory.
The failure and fantasy of memories are invoked through methods of abstraction and embellishment; becoming an assimilation of personal experiences reviewed, reworked and reconfigured.
城市如同一个巨大的电影拍摄现场。一个无限度的网状转换的开端，它的建筑风格和结构已被重造,这使得一系列变化得以描述，但是建造的速度让附加在其上的浪漫主义色彩和怀旧感已不复存在。反而，建筑架构的截面和废墟，记忆的丧失和文化的衍生通过古老的长江迷雾和水泥灰尘烟雾预示着一系列的非凡时刻。
这些现象使得重庆这座城市不断的呈现着某种适应了的流动性。它们促使了一种流动性和和谐的力量存在于形式的与非形式的事件中。我的作品着眼于对这样
The city behaves like a vast movie-set. An open-ended mesh of transforming thresholds, its architecture and infrastructure are readily reconfigured to allow for a changing set of narratives, but the speed of construction prevents the attachment of romantic or nostalgic associations. Instead a cross section of architectural skeletons and ruins, memory loss and cultural derivatives signify a system of singular moments bound only by a mixture of ancient Yangtze fog and cement dust smog.
These phenomena make Chongqing a city geared towards mobility. They render a fluidity and harmony between formal and informal events. My works are in keeping with this dynamic.
GEORGINA NORRIS（英国）
重庆的菜市场以其如棋盘般的布局展现了消费或竞争的现实可行性。它以清晰的，直接的，具有功能性的方式对商品化展现了一种黑色幽默般的描述，这种幽默通过松散的，超现实的形式的在修正及增强着记忆。
缺失和想象的记忆通过抽象和修饰而唤起，在反复回顾中，再次修改和重新配置的个人经历正趋于同化。
Chongqing’s meat markets and games stands illustrate the practicalities of display for consumption or competition. A clear, direct and functional approach to commercial presentation holds a dark humour, a humour that is intensified within the loose, surreal form of a revised memory.
The failure and fantasy of memories are invoked through methods of abstraction and embellishment; becoming an assimilation of personal experiences reviewed, reworked and reconfigured.
JOE ROBERTS（英国）
“空间是无形而难以捉摸的，它是一个并非能被直接描述或分析的实体。然而，我们在感知和解释空间时，几乎总会产生一些场所的关联感和概念。一般而言，空间为场所提供背景及语境但其意义则来源于特定的场所“Edward Relph – Place and Placelessness
这项作品是一个跨越被挪动的图标和循环型结构景观的空间排列集合。它试图在一个空间的物质属性发生转变时呈现所形成场所的特性；历史和故事被淹没的速度同它们被创造时一样快。
作品由一系列被建筑林掩盖的城市而启发的印记，建筑强加于城市的故事，以及一个因流动性使得文化和象征意义的转换发生改变而被取代的字幕幻灯片投影组成。
“Space is amorphous and intangible and not an entity that can be directly described and analysed. Yet, however we feel or explain space, there is nearly always some associated sense or concept of place. In general it seems that space provides the context for places but derives it’s meaning from particular places” Edward Relph – Place and Placelessness
The work is an assemblage of spatial representations across a landscape of appropriated icons and cyclical construction. It is an attempt to form place identity when the physicality of a space is in transition; history and narratives buried as quickly as they are created.
The work comprises of a series of prints inspired by the architectural hoardings that cloak the city, and the narratives they impose, and a slideshow projection following a character displaced by the mobility that is responsible for both the transferal and decontextualisation of culture and its symbols.
“空间是无形而难以捉摸的，它是一个并非能被直接描述或分析的实体。然而，我们在感知和解释空间时，几乎总会产生一些场所的关联感和概念。一般而言，空间为场所提供背景及语境但其意义则来源于特定的场所“Edward Relph – Place and Placelessness
这项作品是一个跨越被挪动的图标和循环型结构景观的空间排列集合。它试图在一个空间的物质属性发生转变时呈现所形成场所的特性；历史和故事被淹没的速度同它们被创造时一样快。
作品由一系列被建筑林掩盖的城市而启发的印记，建筑强加于城市的故事，以及一个因流动性使得文化和象征意义的转换发生改变而被取代的字幕幻灯片投影组成。
“Space is amorphous and intangible and not an entity that can be directly described and analysed. Yet, however we feel or explain space, there is nearly always some associated sense or concept of place. In general it seems that space provides the context for places but derives it’s meaning from particular places” Edward Relph – Place and Placelessness
The work is an assemblage of spatial representations across a landscape of appropriated icons and cyclical construction. It is an attempt to form place identity when the physicality of a space is in transition; history and narratives buried as quickly as they are created.
The work comprises of a series of prints inspired by the architectural hoardings that cloak the city, and the narratives they impose, and a slideshow projection following a character displaced by the mobility that is responsible for both the transferal and decontextualisation of culture and its symbols.
KATE THACKARA（英国）
两部影片在两个平台上放映。一部以形式结构化的方式包裹起来同义于城市风光，另一部则自由的放置于空间之上。两个屏幕以纪录片的形式展现了一系列关于城市中通过使用人和无生命物体间相互作用为主旨的而被使用的各种空间。一些场景暗指预先空无的想法，但他们和一些不同寻常的发现相抵抗。影片以信息化的社交文档形式呈现，但支撑它的是对更抽象的美学研究的集中突出。影片相互间的照应和确认试图以合并的形式到达最终奇特突出的结束点。
Two films are projected upon two platforms. One encased in a formal structure synonymous to the cityscape, the other juxtaposed by hanging freely in the space above. The two screens show a selection of documented perceptions, portraying various utilised spaces around the city, using people and inanimate objects comparatively as motifs within these places. Some scenes allude to pre-empted ideas, but these are counteracted with unusual discoveries. The films work as informative social documentation, but underpinning this is a focus on more abstract aesthetic exploration. The films corroborate one another in an attempt to gradually merge into a singular endpoint.
两部影片在两个平台上放映。一部以形式结构化的方式包裹起来同义于城市风光，另一部则自由的放置于空间之上。两个屏幕以纪录片的形式展现了一系列关于城市中通过使用人和无生命物体间相互作用为主旨的而被使用的各种空间。一些场景暗指预先空无的想法，但他们和一些不同寻常的发现相抵抗。影片以信息化的社交文档形式呈现，但支撑它的是对更抽象的美学研究的集中突出。影片相互间的照应和确认试图以合并的形式到达最终奇特突出的结束点。
Two films are projected upon two platforms. One encased in a formal structure synonymous to the cityscape, the other juxtaposed by hanging freely in the space above. The two screens show a selection of documented perceptions, portraying various utilised spaces around the city, using people and inanimate objects comparatively as motifs within these places. Some scenes allude to pre-empted ideas, but these are counteracted with unusual discoveries. The films work as informative social documentation, but underpinning this is a focus on more abstract aesthetic exploration. The films corroborate one another in an attempt to gradually merge into a singular endpoint.
