0.1 Second before Burnt (Project 596), 2022
40cm*30cm each, Oil paint on wood
40cm*30cm each, Oil paint on wood
These two paintings are derived from the 596 project archival footage, depicting the moments after the explosion of China's first atomic bomb, where everything is lit up so brightly that the human eye cannot look directly but is recorded by the camera. After 0.1 seconds, everything on the screen burned and disappeared due to the colossal energy. The paintings come from gazing at two frames of the footage that repeated pauses can only capture. This gaze is not only temporally and spatially impossible but also in terms of brightness so that the examination of the video becomes the only possibility. The seemingly monochromatic pictures are not due to the type of film but to overexposure. The artist attempts to preserve historical frames easily overlooked in the physical world through oil painting.
这是两张来自596计划视频资料画面的绘画作品，画面描绘了中国第一颗原子弹爆炸后一瞬的场景，一切都被耀眼的光芒照亮，人眼无法直视，而被摄像机记录下。0.1秒后，画面中的一切因为巨大的能量而燃烧消失。绘画作品来自于对反复暂停才能截取的一帧摄像画面的凝视。这份凝视不只时空上无法直视实物，而且亮度上也无法，于是检查视频资料成为了唯一的可能。看似单色的画面并不是由于胶片类型的原因，而是由于过度曝光。艺术家通过油画的方式，企图把容易被忽略的画面保存入物理的世界。
7th John Moores Painting Prize (China) Exhibition, TAG art museum, Tsingtao, China
Lonely Landscape (Severny Island after Tsar Bomba), 2022
Triptych, 80*120cm each, Oil paint on wood
Untitled (The Trinity Test), 2023
120*90cm, Oil paint on wood
Untitled (Atomic Bombs), 2019
5 minutes, HD Video
From the research of the first succeed atomic bomb experiment “Trinity Project", the artist further explored the moving image source that was rare when the nuclear bomb exploded, and the difficulty of the simultaneous sound recording. Proceeding from this, he tried to use clips and reuse existing materials to capture the slow and strange sense of nuclear bomb explosions, attempting to express the hell-like horror created by nuclear weapons in another non-blasting way.
源自对第一颗成功的原子弹实验“Trinity “的影像研究，进而发掘核弹爆炸时珍惜的动态影像资料，以及素材影片同期声的困难。由此出发，试图通过剪辑再利用已有素材捕捉核弹爆炸时缓慢的诡异感，企图用另一种非爆破的方式表现核武器创造的地狱式恐怖。