Vernacular of Jizhou’s Camera Images
Wang Du Aug 29 2011 Paris
Everyone knows what pictures are, but not everyone knows what photography is. When images becomes the first sensory for recognizing the world and memorizing the details of life, we know we have entered upon an age where we unconsciously click the camera shutter. —-Ly Dayer
Several key words for Jizhou Images: physicality, story, quality, concept
Physicality: In contrast to words such as concept, format, system, physicality is based upon sensory experiences. Take the Construction Site Series for an example, the buildings are in no need to be taken a picture of, simply because they had been given a touch of tourist photography (which makes them metaphysical), not only did Jizhou take the photos, but had also superfluously placed a picture of a construction site. By doing this, what is this juxtaposition trying to convey? Time is severed from its normal course and needs to be remedied from both ends, and also, the meaning of the eternal monument had been tempered with. Jizhou lures us into facing what he wishes not to face-the scene (including an absence of which), tricking us into playing our minds into think about the so called physical.
Story: A suspenseful story is always more exciting, as is a deep plotted one. The “Matters” Series reveales that “There Is Something Going On Here”. Jizhou spares no effort in manipulating his images to bring our minds to a world of black & white, front & back, existing & void, true & false, believe & disbelieve where we as audience are left to wonder back & forth. We ask ourselves whether what’s in front of our eyes are quantifiable. Whether it had a beginning and an end, where in actual, we as the audience is indeed the plot of the story.
Quality: Since last century when Jeff Wall and Cindy Sherman exhibited their imagery works of what today’s people are only able to catch using countless number of digital cameras, causing the quality of picture completely replaced by quantity. Therefore Jizhou spares no material and attends to every detail in the process, the lens series is a tiresome project. If one were to say that Nan Goldin’s“I’ll be your mirror”peeping series where without restraint, then, Jizhou’s camera works are precious visual conspiracy which makes you not wanting to reveal even when you’ve seen through it. Beware, this is where the arist allows the audience to break into his world.
Concept: When an image have acquired a deconstruction in “Metaphysical”, story in “form” and quality in “physicality”, one can consider these works to be interesting. Works such as “Dust” and “Back Garden” are not able to come about basing upon mere visual intent and tech know-how, the ever-changing sense of one’s artwork is the true carrier of his or her artistic concept. The frames of various sizes in “Back Garden” is an inventory of the concept of camera images, as your pupils adjusts to the camera lens, countless images rushes toward you, striping you of your visual intent and places you in the deep abyss of the camera lens. “Back Garden” Series is a coup in his world of art, whether pro-active or melodramatic, at first given opportunity, Jizhou will make him self known .
We are one in the same as the images we perceive, how can it be contained in words.