Before the two-week-residence in Germany 2014, I was focusing on moving my arm or palm in three dimensional space. During the process of painting, the backof the framed canvas had arrested my attention.It was different from the traditional ways, and it inspired me to create an effect in the back of canvas also.For the reason of delivery, I decided to carry small framed canvases to Germany. Due to the limit of space in the back of each canvas, I faced a challenge. II thought it cannot be used as a container for my movement.
Therefore, the limitation forced me to think about an alternative way. Instead of containing the process of my movement, I made the back of canvas be suitable for my gesture. Firstly, I painted in the space of each canvas as a relief (fig 15). In order to mould a shape which is linked to my gesture, I applied an efficient and powerful tool, an electronic gun. As soon as I shot the thick paint, the ejected bullet immediately formed a hole.Each of these holes so formed reflects my gesture at the moment of shooting. The moulding spacenot only connects an invisible line to my arm, but also reveals relevant information, such as direction, angle, and distance.
However, each hole is only individually related to a single gesture. Each gesture is not apparently linked together so that it is hard to prove the chain of successive movements of my body. In addition, the effect is similar to relief, so the setting of space in framed canvas (which has painting meaning) is no longer necessary. In order to present the process of continuous movement in different sides and in order todemonstrate the process through the effect of three dimensional space, the methods of building the material and setting the procedural of bodily movement have to be re-designed. In the new designed work, the size is still based on my physical characteristics such as the height of my shoulder (the height of my shoulder) and is also composed of thirty-six squares.