佩加蒙祭坛系列
“生命之初有神话。” - 赫尔曼·黑塞
佩加蒙祭坛在我眼中，如同一幅巨幅古希腊神话的战地摄影，当时的佩加蒙王国的艺术家们，没有照相机，但凭借人类初期的觉知与气魄用了十五年的时间超长的曝光，把心中所臆想的场景投射到佩加蒙的祭坛上，造就那样的神迹。
对于柏林佩加蒙博物馆里的宙斯祭坛，同样的仍然采用是明信片，油画颜料，光，时间，这四者在扫描的过程中的混合，交流，油画颜料本身相互之间的挤压，再通过扫描仪光与时间的介入，形成了饱含时间痕迹的宇宙星云，如同宇宙大爆发的初始，时间的伊始，而明信片里的宙斯祭坛里巨人战役的场景，也是奥林匹克众山神故事开端。
明信片中的浮雕因光与时间的进入，拥有时间的痕迹。浮雕与背景相互叠加，挤压，营造一种画面时空矛盾感，如同它们作为文物时刚被发掘时的样子，有的部分已经裸露出来，有的部分则仍旧埋在星云下面，等待被挖掘，只是挖掘的工具不再是铁楸，而是扫描仪上的光。
Pergamon Altar
"In the beginning was the myth." - Hermann Hesse
Pergamon altar in my eyes, like a gigantic photograph of a battlefield in Greek myth. The artists in Pergamon Kingdom, without any camera, only with their young intuition and spirit, spent 15 years to exposure the visions in their hearts onto the altar of Pergamon. It is a miracle.
I used postcard, oils, lights and time again for this monument in Berlin Pergamon Museum. The four elements mixed and communicated with each other during scanning. The oil color squeezed. Then the light of scanner and time joined in the background, and formed cosmic nebula. It brings us back to the outbreak of the universe, the beginning of time. In the postcards, battle scenes between Titans and Olympian gods is the beginning of the Olympian story.
The relief on the postcard attains the time traces by light and time. The relief and the background are superimposed and squeezed. They form the conflict of time and spaces. It looks like the reliefs were just discovered as artifacts. Some parts have been exposed, while some parts are still buried in the nebula, waiting to be excavated. However, the tool is no longer an iron spade, but the light on the scanner.
