In the process of art production, most tools I operate in my works are designed to be fit for both the right and left hand. In other words, the same tools could be used by both hands at the same time. Hence, even a simple technique can be used to make it difficult for viewers to distinguish between thetop/bottom or left/right sides of my works. In addition, the tools I select can be used in three dimensional movements. In other words, my ‘painting medium’ such as drop, syringe, and spray, or ‘moulding instrument’ such as toy gun, can eject the ink, pigment, or bullet to my work without contacting the surface. Through the ejected material from my tool, the visual effects of my art could be used to demonstrate the abstracted process of bodily movement instead of the physical self.
Comparing to the profoundand abstracted concept of Oriental philosophy, recent Western system provides more active investigations in the significance of body. Through the specific observation and analysis of human behaviours in external world, the general form of inner world, or even an outline of being, could possibly be revealed.
According to Merleau-Ponty’s illustration, our bodies are essential to the experience of any phenomenon. As a subject, anyone can immediately ‘grip’ with his objective body. My whole body for me is not a collection of organs which is juxtaposed in external space. I am in undivided unity of it and I can always recognize where each of my limbs is through a ‘body schema’ in which all are included (Merleau-Ponty, 1945). For example, the movement of our limbsinvolve the immediate awareness of the existence of knuckle, wrist, elbow and shoulder. It means that body is an ideal medium to interact with the external world.
According to the phenomenological interpretation, my body is also a proper instrument in revealing the nature of space. The reflection of ‘bodily schema’ and space in my practice is that thesize (width, length, depth) of my work is based on the range of movement of the body parts. In other words, the dimensions in my works is formed by the physical traits of my body. For example, the range of movements can be attributed to the length of the fingers or the size of the geometric form is based on how big a person’s hands are.