How to Be Satiated in the Dark
2020
HD Animation, 4K Video, and Digital Rendering Images
“Ghost town” is a geographical phenomenon when houses and apartments of a developmental zone are being built in greater numbers than demanded. With only a few families taking residence in a largely empty area, these “homes” no longer seem to fit the supposed warm, comforting idea of “home”. Developers keep building more and more apartments in order to attract people for investment. The empty buildings which exist in the area make the section where they were constructed gradually became a “ghost zone”.
“鬼城”，通常形容一個開發區域的房子與公寓數量多於供給的地理性現象。當只有少數人居住於一大片寬廣的地域時，這些“家”不再是溫暖而舒適的“家”了。開發商馬不停蹄地建造越來越多的公寓以吸引人們投資。這些空蕩蕩的建築，在開發區逐漸變成了“鬼區”。
Born in my hometown, Donghai which is located in southern China, I found this place is always reminiscent of my childhood memories until I have noticed the “ghost zone” phenomenon there. In 2017, my family moved into a new house in the villa section, which contains 48 of them, in our hometown. By the time we moved in, those villas were already empty for several years.
我出生於中國南方的一個小鎮—東海。這個故地一直以來都能使我憶起兒時回憶，直到“鬼城”地理現象引起我的注意。在2017年，我們全家搬進老家一個别墅区域48所里的其中一所。搬進來時，那些別墅已經空置好幾年了。
How to Be Satiated in the Dark is a docu-fictional project that I began producing in the summer of 2019. By tracing my dream, my family history, and my deepest and fragmented subconscious memories of living experience at my childhood home, I aim to reveal my psychological belonging to my provenance.
“如何在黑暗中被填飽”，是一個我於2019年夏天開始創作的紀錄虛幻短片。通過追溯一個帶有宗教意識的夢，在老家碎片化的兒時回憶，以及父親的別墅夢，我嘗試揭露對出生地的心理歸屬感。
The 3D models in the animation are accomplished by Photogrammetry, which is a digital simulation process of reconstructing the object or landscape by assembling photographic materials. By photographing and constructing plenty of photographs from the villa zone in my hometown, I created a virtual replica of the ghost zone. The process of virtually moving inside the abstract and pixelated computer-generated buildings is similar to the progress of searching for an uncertain longing: I am wandering in the detached space, yet it is the space which locates in my provenance that exists as an anchor in my life.
在這個項目中，我不斷審視攝影語言的本體性，探索影像突破平面的可能性。我運用了攝影測量法實地拍攝與收集家鄉鬼城的圖像，獲取建築或物體表面的採樣後構成點雲(Point Cloud)，以電子虛擬3D模型的形式再現鬼城建築。在抽象與點雲式構造的虛擬建築裡徘徊的過程，正如我探索長時間積累的不確定歸屬的歷程：我在一個與我肢體分離的電子空間裡迷茫徬徨，而這個空間存在於我船錨式的家鄉。
My ultimate goal is not seeking a solution for the mundane architecture that is a product of the complexity of greed. Although the project has rarely been discussed directly through a socio-political position, it focuses on delivering a story that provokes the viewers’ phenomenological contemplation between their self-perception and the living space.
單調的建築是貪婪的產物，而我無意於此找尋一個解答。這個項目甚少直接從社會與政治的角度來討論議題。通過製造立體圖像點雲的詩意敘述，我試圖引發觀者發散性的思考：個體的自我感知與居住空間如何產生關聯。
