A wedding is not supposed to be romantic; instead, it should be an alarm that awakens the lovers.
Inspired by my everyday feelings and trivial matters in our four-year relationship, I created a series of works that matched a wedding. On top of my own experience, I took the context of two people living together into consideration and created these works based on new modes of thinking, aiming to breakdown the existing framework of marriage and transform my wedding into a solo exhibition.
巴法利尼克斯說：「婚姻是一本書，第一章是詩篇，其餘則是平淡的散文」，作品圍繞並且放大「每天都會發生的小事」的同時強調人與人之間的重要聯繫，以及對於觀者的人文意義。婚禮的每一處細節里都藏著作品，從帶有溫度痕跡的蠟封邀請卡、幫彼此互捏的婚戒到由母親與40位央美同學以手機參與的婚禮錄像。捨棄大紅大紫的喜慶顏色，婚禮以黑白色調為主邀請所有來觀禮的嘉賓身著黑色衣服，婚姻一如Alanis Morissette 在<Everything> 這首歌詞中提到「You see all my light，And you love my dark.」我看見你所有的光明，我也愛你的黑暗。如果白色是神聖與光明，那麼黑色就是包容與接納。
「Marriage – a book of which the first chapter is written in poetry and the remaining chapters in prose,」 said Beverly Nichols. With this idea in mind, my works embrace and zoom in to examine 「the daily, trivial matters」, with an emphasis on the relationships between people and the meanings they can bring to the viewers. Artworks were everywhere in my wedding: The invitation cards with warmth, the wedding rings we had shaped and made for each other, and the videos recorded with phones by my mother and 40 artists. I abandoned the red and festive colour scheme and used black and white as the main tone in my wedding. All guests invited to the ceremony were dressed in black. Marriage is like Alanis Morissette‘s lyrics in the song Everything, 「You see all my light / And you love my dark.」 If white stands for sacredness and light, dark should stand for toleration and acceptance.
It has been five months since we finished the wedding ceremony in Beijing in the last September, which means we have been in marriage for five months. At that moment, I furthered my thoughts on wedding ceremonies and marriage, bringing the Wedding Ceremony series on a tour to Taiwan.
The Wedding Ceremony in Taiwan mixed texts and images together, making use of traditional visual elements to explore the ambiguity between the false pretence and the reality of modern marriage. The title and visual design made an implication to show the relation between an ideal, wonderful wedding ceremony and the reality. That is to say, I refused to bring my wedding ceremony close to any wonderful fantasy; instead, I showed how marriage is attached to the controlled social system. Through the use of scientific phenomenon, the nature of bronze – which changes its colour and oxidises when exposing to moistures and air – I presented neglected events in a marriage in different ways within existentialism and the framework of time. I emphasized and explored the relationships between the controllers and the controlled parties in both ancient and modern marriage, between the nature and the change, and between mutual needs and opposition. With all of these, I aimed to convey my ideas to the viewers through the visual language expressed by my works.
Thanks to the three wedding ceremonies from Beijing to Taipei, with my anxiety and examination of my new identity, I turned the ecstasy and fear, which had been erupting in my mind once I thought about the present and future marriage life, into pieces of artwork. And marriage is the same thing. The difference between what marriage seems to be and what marriage truly is appears to be like the role of art that expresses our life and the life itself – the life is always far more complicated than art.