The inspiration for the 3D series of works started with memories from the pandemic and my reflections on life.

 

During the initial outbreak of the pandemic in 2020, there were several months when I had to be locked in a small space, and I felt an unprecedented sense of depression. The pandemic raged globally, and a powerful sense of apocalypse filled my mind. My perception of the future gradually became blurred, chaotic, and unconfirmed from what I had previously recognized. The once-peaceful world seemed to be getting farther away from us. Because of the constant closure of the city, my work came to a standstill for the next three years, and the negotiated exhibitions were postponed and canceled. We slowly accepted wearing masks daily and scanning health QR codes to be able to get in and out of public places. Then the global wars occurred, and many lives were lost in missile attacks and occupation raids on territories.  The world, growing increasingly unfamiliar, engulfed me in the sense that my existence was being fragmented, nullified, dominated, and constrained.

 

Amid this tumultuous world, tranquility eludes me. I wanted to create artwork that encapsulated the genuine emotions of my heart. Yet, traditional sculptures and paintings fail to convey the profound dissonance between body and spirit that I wish to express. Through the advent of 3D scanning and printing technologies, I found a way to express those feelings.

Thus, I have named this series "CHAOS," a term that denotes both disorder and disarray, a resurgence of creativity, and the potential to re-envision the essence of life.

Throughout the creative process, I explored numerous techniques.  By accident, I stumbled upon a method during the 3D scanning phase of the subject due to the fragmented and recombinant nature of the scan. This process metaphorically dismembers the scanned individual into segments; through this act of virtual violence, we manipulate the outcome, and by continuously projecting and reflecting upon the body, we facilitate its transition from the tangible realm to the digital domain, immortalizing its existence.

This transformation is meticulously documented and preserved within the digital confines of a hard drive in the software. In this context, real life momentarily paused in front of the dominion of algorithms, suggesting an alternative form of immortality and a novel discussion of existence.

 

 

Upon completing the scan, my contemplation deepened on how one might perceive their innermost self and essence. Thus, the act of dissection, though seemingly brutal through slicing, paradoxically unearthed a semblance of hope. This exploration into the essence of life unexpectedly revealed an alternate dimension of the soul and the potential to access a four-dimensional realm. This allows us to venture within, introspect, observe our inner selves, and embody our existence within the internal cosmos of our being. We are presented with a life form that, albeit irregular in shape, radiates the vibrant specter of life, encompassing sorrow, joy, detachment, and fragmentation bathed in the luminescence of existence. All chaos is thus reborn through segmentation.

In my "Hiding in the City" series, I engaged with the world through the vanishing of my form, and in this series, I present the process of that disappearance: being dismantled and subsequently reborn. I tried to employ novel virtual techniques to render the invisible visible, illustrating the vanishing of the physical form and its dissection. Traditionally, my “Urban Camouflage” works have always been about guiding the observer alongside my body into the artwork to extract information, a process achieved through the lens of a camera. In this series, I persist with this methodology, yet the distinction lies in the transition from the observer's two-dimensional perception via the camera to the three-dimensional understanding through LED’s algorithms and the software.

The disintegration of the body and the negation of tangible life are linguistically and theoretically paralleled for the sentient form. Herein lies a juxtaposition: one of construction and the other of deconstruction, with the satisfaction derived from the latter surpassing mere aesthetics and originating from a deep-seated consciousness of life. The source of this intuition remains elusive, yet it undoubtedly stems from an acknowledgment of life's inevitable cessation. We are confronted with the existential reality that our exploration of life's significance is through the prism of mortality.