WUWEI, I once again turn a critical and deconstructive lens toward the cultural heritage of my hometown. What differs this time is the ambition to curate an entire exhibition space. Projections, 3D prints on plinths, paintings, videos, and live performances will all converge within this space.
I realized that the trauma experienced by cultural relics is not isolated, but a widespread phenomenon spanning history and geography. By historically extracting various figures—active or passive, and holding different social roles—I engage in a critical reflection on the protection of ancient artifacts. This creative process addresses the blows to cultural relics delivered by multiple historical events, including government policies, looting, and unequal treaties.
In terms of form, the visual inspiration of the Tennis stroke provided a dynamic vocabulary. I have integrated tennis movements with 3D modeling and the iconography of historical figures to produce a film, which will ultimately be projected on a large scale throughout the exhibition space. The audience will be integrated into the projection, becoming part of the dialogue with cultural heritage.
As government initiatives strive to reshape historical heritage, and as the dominance of digital heritage culture grows, I wonder: at what point did we stop questioning each fragment of historical truth and choose instead to follow?This body of work is not only a meditation on the origins of culture but also an inquiry into its future. As each technological wave reshapes human thought and behavior, we are compelled to ask what should be preserved, what will inevitably transform, and where our heritage will lead us. In this rapidly changing era, my artistic practice continues to be a persistent exploration of “roots” and “futures,” seeking to rethink and reimagine the very essence of culture itself.