From ‘Stillness Becoming’ to ‘Making Time’ Digital Surface within My New Media-Art Practice

This digital-art review is centred on the development of a body of stills and moving images in relation to my concept, experiment and experience of studio-based practice. In my creative methodologies, the digital technology helps to extend my experimentations of ‘stillness becoming’ and ‘making time’ in image. The images in fictional motion present a ‘continuous surface’, having a sense of ‘time’, for painting and photography. This paper also focuses on the conceptual investigations of the uncanny, ambiguous, and sublime, associated with my recent solo show entitled – Fictional Painting (2012). The concept of these works has morphed from painting to digital photography and animation. These works stem from my continuing exploration between fiction and reality. The meaning of ‘digital surface’ here comes from pictorial/photographic sublimes and my aesthetic experiences. This defines the still ‘beauty’ and the moving ‘romance’ in my own view.Following the practice-based studies, I refer to the simplicity of cursive calligraphy with a void and concrete correlation, which conceptualises the thinking: ‘stillness’ and ‘movement’. The space-time is to articulate the type of thinking to the relationship between photography and animation. I study the Surrealistic thought that is extended in the cyberspace, which involves ‘cinematic’ structure – a process of visual unification of psychological space and physical dimension. Furthermore, my concerns have grown and changed by debate relating to the montage in contemporary cinema. The cinematic image around me is constantly translated into my own visual sense through the ‘digital montage’. The fictive impression in this case turns the lights, colours and shadows into something like a ‘sculpture’. In addition, I believe that the appeal of works lies not only in their sense of aura but also in their perception as a phenomenon of ‘other nature’ and/or ‘second nature’. The images of my work have their own significance as ‘signs’, which infer the meanings of psychic object and place. They become a sort of cosmic configuration, almost like a ‘psychological landscape’. Finally, the practice of my work involves the use of improvisation and liberal play that makes a ‘new’ sense of formal ‘automatism’; its significance relates to a personal identity that is ‘mutative’ within a ‘surreal’ structure.