Memory Drift
2014 - Ongoing
Photography, aluminum, video and sound installations
100+ ASIA ART SEASON
亚洲艺术季
Songshan Lake Biennale
松山湖双年展
Sound part Listen here:
This project began over a decade ago and continues to evolve. It emerged from a physical response—persistent tinnitus—triggered by living in Shenzhen, a city marked by rapid reform and constant technological acceleration. It was my body reacting to collapsing space, fractured rhythms, and the overwhelming flow of information.
In search of relief, I began to travel—to sites marked by spiritual resonance, natural presence, or religious tradition. I documented these places through photography, sound, and symbolic reconstruction. This act of recording became a personal method of rewriting, of processing inner states through external landscapes.
Over time, I realized that these images and sounds were not merely traces of memory—they were memories externalized through technology. As Bernard Stiegler wrote, memory is not contained solely within the body, but extended and reshaped through tools, images, and machines. Many moments no longer felt remembered—they felt constructed, prompted by media that claimed to remember for me.
Recording gradually became a form of psychic repair: not to recover a fixed origin, but to anchor fragments of perception within drifting time. Photography and sound ceased to be tools of representation—they became technical languages through which I stayed connected to experience.
And eventually, I saw the paradox clearly: I had set out to escape the anxiety of technological life by seeking the sacred in nature. Yet the very images and sounds I created—these technological artifacts—had become the structure of my belief. They no longer documented escape; they became the form through which meaning could continue.
Memory Drift is a sensory archive of drifting, externalization, and reconstruction. It is the ongoing attempt to understand experience, memory, and the self—within, and beyond, the systems that now hold them.
这组作品起于十多年前，至今仍在持续延伸。它源自一种身体性的应激反应——耳鸣。那是我在深圳这样一座快速改革、不断技术更新的城市中，对空间剧变、节奏失控与信息压迫的反应。
为逃离这种精神状态，我开始旅行，前往具有宗教象征或自然能量的地点。摄影、录音、图像重组成为我“再书写”的方式，也成为我调节内在状态的一种路径。记录起初是一种寻找神圣的行为，试图穿越现实，重新感知存在的边界。
但随着记录不断积累，我意识到：这些图像和声音并不只是我记忆的副本，而是通过技术系统“外置化”的结果。正如 Bernard Stiegler 所言，记忆并不只存于主体内部，它也在图像、媒介与机器中延续与重写。许多片段，已不再是我亲历的回忆，而是由影像替我“提示”的构造。
记录因此成为一种精神修复的过程，在漂移的时间中锚定感知的片段。摄影与声音转化为技术性的精神语言，协助我与经验之间保持连接。
而最终我意识到：我原本试图逃离技术与发展的焦虑，追随自然与神圣，但那些技术生成的图像、声音与结构，反过来成为了我对意义的信仰基础。它们不只是记录，更像是我与 现实之间，唯一能持续展开精神关系的形式。
Memory Drift 是一组围绕漂移、外置与修复展开的感知档案，也是我不断重新理解“经验”“记忆”与“自我”的过程。