洞穴  I



《新风景 - 洞穴》中有一张的构图,借鉴了旅法的油画家赵无极(Zou Wou Ki)的作品《向克劳德·莫奈致敬》。这张巨幅的作品命名为《无极洞》(Cave) 它是关于洞穴与星空,过去与现在。

Cave I

In the story of the Buddha, there is such a metaphor: The whole Sumeru Mountain in a mustard seed. The metaphor tells to put the highest mountain Sumeru into a small seed, it is just fit. And when I created the background, I uses grains of ores. On the scanned pictures, the grains of ore looks likes magnificent and changing nebula and the universe. The scanner allows me to capture the details that are overlooked by the human eye. I am surprised at such a wonderful link between micro and macro world. It is in unison of the Buddha metaphor.

In the photographic series The Cave, the artist delves into the relationship between the macrocosm and the microcosm. It indicates that the infinite is nestled within the infinitesimal, and both the colossal and the minute possess an equal right to existence and can simultaneously inhabit the expanses of our imagination. The material foundation of his photographs are minute fragments and grains of various ores, details of which are scanned by the artist and unveiled through computer-assisted magnification, a process that uncovers aspects imperceptible to the unaided eye. Amplified to monumental proportions, these images unfold an overlooked world of startling and grand beauty. Within these scanned caves of unreality, sizes and scales dissolve, resulting in a universe where the microcosm morphs into the macrocosm, and vice versa.

The composition of a work in New Landscape: Cave was enlightened by Salute Monet of Zou Wou Ki, an oil painter in France. The large painting is called Wou-Ki Cave, depicting cave, starry sky, past and present.