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时间、生命、命运始终是我创作的中枢神经和引擎,在地球危机呼号的年头,我更关注生态,生存的境遇和当代的生态美学了,更强调创作在流动的时空呈现及人与自然的互动,在养蚕实验里去体悟生命,诗化地冥想和进行生物学、生物社会学、哲学的思考。“用艺术的眼光看科学,又用生命的眼光看艺术”(尼采《偶像的黄昏》)。如此,在艺术与科学、装置、雕塑、新媒体、行为临界点上的“自然系列”持续了20年。穷尽素朴尔真尔深尔空,在原始要素里去发现当代,是我的追求。
Time, life and destiny are always the central nerves and engines of my creation. In the years of the earth call crisis, I paid more attention to the environment of ecology and survival and contemporary ecological aesthetics. I emphasized the creation of time and space in the flow and people and nature Interaction, in sericulture experiments to understand life, poetic meditation and biology, biological sociology, philosophy. “Use science to look at science, and look at art from the perspective of life ” (Nietzsche, “Idol’s Twilight”). Thus, the “Nature Series” in arts and sciences, installations, sculpture, new media, and behavioral critical points lasted 20 years. Exhaustion Supor Real Seoul Erlang empty, in the original elements to find contemporary, is my pursuit.