Curator / Marissa CHANG
“Back Garden: Private Land” is a plastic vase. With no plants in it, it nevertheless turns to be a better metaphor for its own existence and thus provokes the audience to think differently in their lives, involving hints of criticism and sarcasm. CHI chooses hand for not depicting art as a part of life, nor creating a similar dimension to the real world, but telling his audience it’s impossible to differentiate resemblance and affirmation. People find no difficulties to identify the aircraft in “Back Garden: Return to Zero,” though the plane has no functions with its wrong dimensions. Visual identification doesn’t give it a solid definition.
Aircraft, as a symbol, has changeable and dubbing meanings. It could be toys in our childhood memories, as “ourselves”, or war crafts in invasion actions, as “others”. With no intention to “fly in” as which artist manipulates in “Passing Through the Post-Garden,” a 30cm x 30cm mirror in “Back Garden: Return to Zero” transits the space and reflects our relationships with others. “Back Garden: Private Land” is a plastic vase. With no plants in it, it nevertheless turns to be a better metaphor for its own existence and thus provokes the audience to think differently in their lives, involving hints of criticism and sarcasm. CHI chooses hand for not depicting art as a part of life, nor creating a similar dimension to the real world, but telling his audience it’s impossible to differentiate resemblance and affirmation. People find no difficulties to identify the aircraft in “Back Garden: Return to Zero,” though the plane has no functions with its wrong dimensions. Visual identification doesn’t give it a solid definition.