MESSAGE

1.「Addendum - Heaven Manifests Its Signs, and Earth Materializes Their Forms」

"Heaven reveals celestial signs to manifest auspicious or ominous portents; the sage discerns their patterns." The concept of "celestial revelations" encompasses the interplay of celestial phenomena, terrestrial configurations, and human correspondences. In ancient cosmology, celestial realms mirrored earthly divisions—mountains, rivers, and the Nine Provinces originated from cosmic order. The doctrine of cosmic-human resonance posits that celestial movements correlate with human affairs, while bodily functions (organs, meridians) mirror astral patterns.

The Huangyan stone quarries, shaped by generations of quarrymen, now exist as a theatricalized ruin—their labyrinthine chambers transformed through modern interventions. Under flashlight beams, weathered textures on the walls morph into star charts. Traversing these spaces, I perceive organ-like formations, as if navigating a cosmic anatomy where caves become "negative spaces" echoing both the human body and constellations.

My photographic method draws from the roving focal perspective in classical landscape painting. Through repetitive scanning, shifting light projections, and fragmented collages, these images construct an unreal topography of the cave. By linking subterranean voids to bodily structures and celestial mappings, this process embodies form abstraction—a modern reimagining of the ancient practice to "extract forms from cosmic manifestations."

2.「Addendum - Fictitious Stone」

The extraction of natural resources unintentionally resulted in the extraction of prototypes from natural forms. Just as the relationship between a monument and its rubbing or a positive image and a negative image, if the stones taken from nature are seen as the "positive form," the depressions on the rock wall are the "negative form" left after the stones have been hollowed out. The entire cave, as a "ruin" with historical traces and imbued significance, can also be viewed as the "negative form" left behind by human actions.

I used photography to capture the stone walls of the quarrying site, even my own body, vegetation, the ground, and small objects on tables, to create 3D models, including failed models. I then exported these 3D models into point clouds composed of coordinates. These point clouds were subsequently trimmed into stone shapes. Finally, I transformed them through multiple media conversions to create photos that resemble stones and then turn them into a lightbox installation. Everything can be transformed into a small stone like a piece of straw. I attempted to use the relationship between photographic positive and negative images to use a virtual "positive form" to supplement the traces left behind after the stones were extracted from the quarry site, or rather, the "negative form" of human traces that exists conceptually.