One of the motives I develop in this series of work
is to shake up the paradigm that we unconsciously consider
unquestionable. The standards based on which we evaluate and
judge the given information can provide stability, but it can also
destroy unique individual qualities. Considering the limits of
conventional beliefs and judgements, adequate criticisms are
called for. Opposed to the traditional garments the figure is
wearing, her accustomed use of a smart device brings peculiar
contradiction. Such conflicting intermixtures of different times
in history aim to shake up our common belief that commands us
to act or be a certain way. For instance, when one is in traditional
garments, riding bicycles wearing earphones or using a tablet
device with their feet up on the desk do not commensurate the
conventional manners or expectations. The traditional garments
can function as a representation of concealing and complexity
related to Faux-Naif (Feign) or simply serve the aesthetic purpose.
Yet, the bigger significance lies in the improbability provided
by the contrast of the objects and the attitude of the figures in
traditional garments. It pursues ground-breaking visualization of
seeing both traditional garments and modern ordinaries together,
and the irony or preposterousness of female Faux-Naif (Feign).
Yet the convention attack presented in my works is not intended
to be offensive or biting. Oops (Ah-cha) is one of the works that
are most well-known to the public. The title is composed of
two Chinese characters, Ah, meaning self, and Cha, meaning
lack, which implies self-limitations and a moment that calls out
‘oops’ in various ways, such as the coffee on the bottom right
that is about spill out in a bag and the ramen noodle meal which
costs about a dollar while the coffee costs severalfold of it.
As the ultimate aim of my work is to stand independently from
conventional standards and judgements through confessional
practices, my pursuit of improbability will stay sharp.