- Algie: orientation, the composition on the wall, the whole composition, figurer?
- Andrew: the way that space out, and the numbers of distances between every image make you want to make a relationship with the space to see a kind of overall silhouette. when you put all the things in the same wall, you made people wants to see them together, as a whole "figure", my desire made me wants to see this as a whole rather than looking into image. I start between the shape of image as a whole, and the shape in the image, reclaiming a figurer
- Japan: the nice thing is not quiet settling, flat surface, is quiet hard thing, achieve to give movement to something flat, very tricked, cannot figure out looks not be possible.
- Emmy: the middle one to me doesn't go with the other, made me feel they would go together, they may not a whole, it suppose to be they are not gonna go together.
- Algie: because the middle one have something in the background like circus something.
- Japan: One thing how much you talked together in terms of how to display the goes where.
- Emmy: the work next to these is not mach with each other, in the way of colour, it is difficult to connected.
- Andrew: thinking about the relationship with curator. and the work next to you, might changing or bringing other interpretation to the work in different way. what space do my work really need, what is the potential of my work.
- it is great to see it big on the wall, and potential of it, but I think is too much on it.
Self talking and discuss part:
- Andrew: the choice of these number of images on the wall?
I design the layout in Ps, I want to people see the work in different level, and people will see it up and down. and because my works key concepts are the disorientation, how we broken the boundary to see the space. so the composition is for broken the conventional way of seeing.
- A: You may could use the ground, or the corner? consider the angle of display the photo. it is great deal potential in your image, in your work with it, I do not think is succeed the way you want, I do not think my eye is drawing up and down. I think if there is more space around it, is more distractive, more draws the images perspective. This emphasize is the wall, I would like to see few less images, in the much big space between, may be around there as well. There is very interested space for your images because there are lots of angles and echoes sort of lines to it, the things you can go with your image. but the image is not picking up on that. the ways your stored to my mind. I think you think a lot of your work. but you do not see it. You though about what you want it, you though about potential, you did not see what was quite doing.
- Japan: I think why people always ask you about where the space is, maybe because you give so much hint about the space. (all the images took from Westminster, a same place, so it will emphasize the meaning of this space is important.) you want people see actual work rather than think about where it is.
When I hang on my work like this, in the first, I saw it individual, then I go back to see it as a whole. The meaning is more important when it is individual.
- A: If that's the case, I find it out why you put so much up, if it is individual piece?
- A: somethings I find very interested in that collage, some image is so powerful on it own, the figure is so powerful, it is lead us to the space, it is interested that the more is less. how can so much of this lead out much interested power from single images.
- J: each image is doing so much, sometimes conventional way will just give focus on each work.
- A: STILL FEEL QUITE A LOT, but I think the clue that, you know this things is actually looking at it, and giving it time to think how does it feel know. do not go with what you know is there, actually look and try to feel what is that. I think that is the thing you got your work and looking at your work.
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