Mother’s

I had a very close relationship with my mother when I was young. When I was an adult, I left her to live independently. This separation deepened our gap. In the following years, she began to travel alone to many places, shaved her hair, and shut off the water and electricity at home. She has lived in a unique way for many years. I can’t understand and always quarrel with her. The number of times we meet has been reduced to two or three times a year. Only recently have we gradually recovered contacts. The whole shooting process is also the process of dialogue between me and my mother. When I continued to return to my old home, when I constantly observed the signs of my mother’s long-time lonely life, in the cartons and beer cans that were randomly stacked high, I found a unique aesthetic; in the daily necessities "designed" under her strategy of turning waste into treasure, I found hidden vitality; in her high interest in clothing making, I found one This is a spirit of resistance to existing female characteristics. In this conversation, my inner estrangement and fear were eliminated. At the end of this project, my mother cleaned the toilet and re-turned on water and electricity at home.


荷花池

我与母亲在幼年时期有非常紧密的关系,在我成年之际,我离开了她独立生活,这种分离加深我们的隔阂,在之后的几年中她开始独自旅行,剃了发,并生活在被她自己停掉水和电的家里。她用一种独有的方式生活了很多年,我不能理解她并总是与她争吵,见面的次数也少到2、3次一年,直到最近我们才渐渐恢复了联系。整个拍摄过程也是我与母亲的对话过程,在我不断重回旧日的居所时,在我不断地观察我母亲长期独自生活下的印记时,在那些看似胡乱堆砌得很高的纸盒、啤酒罐中,我发现了独特的美学;在寻找她种种变废为宝的策略下“设计”的生活用品中,我发现了暗藏的活力;在她对服装风格的设计与选择中,我发现一种对中国既有女性特征的反抗精神。在这场对话消除了我内心的隔阂与恐惧,在这个项目的结尾,我母亲清空了厕所的杂物,家里开通了水和电。