Her Room in the Dream   Puppet Theatre & Electronic Installation  silicone、linden、motor、wax、acrylic etc.  Dimension of space :480*380cm  Height of puppet:100cm  2018-2019

Her Room in the Dream

Puppet Theatre & Electronic Installation

silicone、linden、motor、wax、acrylic etc.

Dimension of space :480*380cm

Height of puppet:100cm

2018-2019

Since I started making puppets, I somehow often heard voices from the inside of puppets’ body,  particularly when I was alone making puppets or after I performed with puppets.  

These voices often came in the form of dialogue. They flashed across my mind with lots of words and sentences rapidly and soon disappeared, like a designed program. 

However, I was rather curious than fear about it.  Even though puppets are made by a pile of inanimate objects, I believe they can create a magnetic field and  illusive sense of life through artistic processing. 

A strong curiosity about the essence of these strange voices pushed me to assume :Are they from my hidden personality, or from a wondering ghost residents inside the puppets?I actively looked for clues from both the inside and outside environment of puppets themselves each time I was making them or performing with them , trying to get closer to the answer. 

Eventually, I decided to make a container based on my appearance for these sound of dialogue. And then here it is, my miniature simulated puppet,and the associated work of “Her room in the dream”. 

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“Her room in the dream”is an intimate dark space surrounded by red curtains. Everything inside belongs to the puppet girl.  She has the same appearance as mine, but her outfit, haircut, and memories had nothing to do with my real experience.  The whole setting emits a feel of warmness, but it’s actually a weird fictional cage. 

This room have two attributes:installation and performance.

When the main part(me, the performer) is absent, the puppet rests in yellowed white sheets, breathing calmly, and waiting for visitors. Once the audiences or visitors enter this room, they immediately surrounded by a mysterious intimate atmosphere. They can touch everything: a controller hanging above the puppet’s head, a pair of skin-color balloons constantly rubbing with each other,a piece of video of stream-of-consciousness style looping in an old television, an old refrigerator filled with silicone heart、face、hands and tongue,manuscripts scattered on the ground and the wall, a framed old photo of twin girls etc.…… the audiences are free to use many clues to construct the meaning of this room from their own perspectives.

For me , this room is a comprehensive interpretation about an energy field of “Matrix” which could breeds new things. As for puppet girl, I’m not her matrix. She is self- sufficient within her magnetic field. She can also be infinitely reproduced though matrix, just like  the inflatable doll, plastic toy or any goods produced by assembly line .

I actually sewed the matrix beneath the bed. It looks like another side of her, or  a reflection of her, just like how she is an epitome of me. Several red threads descend from the matrix’ body to the surface of a mirror. There are hence several confrontation in  the  room: me vs. the puppet, the puppet vs. the matrix, matrix vs. the image of the matrix in the mirror.

Once my performance starts, the whose space of this installation becomes an immersive performing space. I then starts a story about learning to escape. During the performance, I’m the controller of the puppet girl as well as the master of her: teaching her to breath, walk, and escape. She is trying to escape from matrix, and escape from being reproduced, to pursue and define the uniqueness of herself; She is also escaping from a world built by the invisible hands, and stumbles to look for her true self. In the end, I will cut off threads to her body and hold her body, a body without any manacle,and then leave this dim space,like escaping from an endless dream. 

 

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她在梦中的房间

装置与人偶同台表演

材料: 硅胶、椴木、电机、蜡、亚克力等 

空间尺寸:480*380cm

人偶尺寸:100cm 

2018-2019 年 

 

从做木偶以来,我时常会不可思议地听到从木偶体内发出的声音。不论是在制作木偶,还是在表演结束后,一旦我独处,这个声音总会隐现。它往往以对话的形式,在我的脑海中快速地闪现各种辞藻与语句,好似被设定的程序一般。

我对这种对话的好奇远远超出了恐惧。因为木偶虽由一堆没有生命的材料构成,却可以通过艺术的加工,制造出生命的磁场与幻觉。也因我已长时间地与木偶相处,熟悉了它们内部所有的细节,因此从未对木偶这一媒介本身感到惧怕。

但对这声音本质的强烈好奇心,驱使我不断设想:这是来自我内心的隐藏人格,还是偶然寄居在偶之中的游荡灵体?因此我每次制作和表演木偶时,都很主动地收集木偶自身、外界的线索,试图靠近答案。 

所以这一次决定,以我的外貌为原型,为这对话之音制造一个容器。于是便有了我的缩小版仿真硅胶木偶,有了“她在梦中的房间”这样一个装置。

 

“她在梦中的房间”是被暗红色帷幔所包围的昏暗私密空间,里面的一切物品都属于木偶小女孩。她拥有着我的模样,但穿着、发型,甚至记忆,都与我真实的过去无关。整个空间看似温馨,实际上是一个被虚构的怪诞的牢笼。

这个空间融合了两种演绎方式,即空间装置与现场表演。 

主体不在场时,木偶平静地躺在泛黄的白色床幔上,匀速地呼吸,等待访客的到来。观众进入空间后,即会立刻融入暗淡神秘的私人化氛围,他们可以触摸房间里的一切物品:悬空于木偶头顶的粗粝的操作杆、一对不断摩擦发出沙沙声的肉色气球、循环播放着意识流影像的旧电视、放满心脏、脸、双手、舌头等硅胶人体实验品的旧冰箱、从地面一直延伸到天花板上杂乱的木偶制作手稿、一对双胞胎女孩泛黄的童年照片 ……观众可以自由地通过诸多线索去建构揣测他们眼中的这个小屋。

 于我而言,这个空间是孕育新生事物“母体”能量场的一种综合诠释。对于木偶女孩,我并不是她的生产母体,她在自己的磁场氛围内自给自足,依照母体模具,便可以复制出无数个她,就像任何一个充气娃娃、玩具、或者任何流水线生产的人工制品。

母体被缝制在床下,像木偶另一面的折射,或如一层倒影,恰如木偶正是我人生的缩影一般。模具中垂下一缕缕红色的丝线,连接到床底的镜面。可以说,在这个空间中存在多组真实与虚幻的对峙关系:我与木偶、木偶与模具、模具与镜像中的模具。

一旦表演开始,装置空间随即切换成沉浸式的表演空间,我将开始一段关于学习逃离的故事。

表演中,我既是木偶女孩的操作者,也是她的引导者:教她呼吸、行走、逃离。她试图逃离母体,逃离被复制,去追寻定位自身的唯一性;逃离由看不见的手建构的虚幻世界,跌跌撞撞地去追寻真实的自己。最终我将抱着剪断了所有丝线、所有羁绊的她,告别这个晦涩暗淡的场域,彷佛逃离了一场永无止尽的梦境。