In the Wilson Road exhibition, I furthered the idea of creating an intimate room in a public space by leading viewers’ sight through the composition of works. I placed the smaller painting close to the floor while the other two pieces occupied a corner in a gesture of open arms. They confront the viewer with a more friendly, approachable gesture, which becomes a window of Room 33. This is a fluid, secluded, humid corner. Here, a huge transparent heater rises slowly from the ocean with an isolated island nearby. A person is moulting on the beach, leaving a trail of marks. Bluewater gushes out of the sink, carrying the putrid smell of the pipe produced in 1998. Following the line of sight, a man and a woman plank in a tile gap, facing each other in incontinence..

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It was a provisional site full of questions and possibilities. Like the audience, I saw my work on an opening day. This improvised nature added to the theatricality of the space. There is a fluidity to the narrative established in the show. In this familiar-looking interior setting, the narrative folded into the interaction between the viewer and the space, which provides the viewer with multiple entrances. Besides, I noticed that the placement of paintings limited the viewer's behaviour, with many people crouching in front of the small images to see the paintings and others leaning down to view the reflections in the water.

 

Such narrative with fluidity reminded me of Carolyn Lazard's SYNC at the Venice Biennale, where the sinks are installed with their basins facing the viewers so that their shapes evoke the rounded screens of vintage televisions. An artificial bonfire is lit and crackling, and electric fans operate in the corner. The figure in the drawing reminds me of myself lying in bed on Sunday morning. Half wrapped in unfamiliar experiences, viewers are half immersed in a familiar room, where everyday objects appear alienated. An object is no longer itself but becomes a vehicle that can evoke the memories of hospitals, and nursing homes.

 

According to Deleuze, art can preserve itself because it preserves "a collection of sensations, in other words, a combination of perceptual objects and effects." Sensation in the Deleuzian context has different levels and folds, and these differentiated sensory levels should be clusters or domains associated with different sensory organs. However, there is indeed an existentially invisible communication between the different levels or fields, which allows the work to be more visible in terms of colour, flavour and taste. It allows for ineffable communication between colour, taste, touch, smell, sound and weight in work. "The painter needs to make a certain primordial unity of sensation visible and, visually, to show a multi-sensory image."

 

There were surprises during the exhibition that I did not expect, such as the blue pigment in the sink gradually sinking in the slow shaking, creating fascinating patterns. It was as if the sink was painting itself. This could be a project afterwards about how painting grows on its own, inside the material object, in the container.

 

In this exhibition, I suddenly realised that I was using remains instead of making sublime, profound, complete paintings. The remnant of the viewer's eye is a complement to incompleteness or an evocation of something not in front of him. This process of 'evocation' is essential to me, and the awareness of 'evocation' has primarily influenced my subsequent practice. In The Homeless Intimacy, I paint partial images with incomplete compositions, similar to the 'zoom in' effect of the camera, rather than illustrating a complete and independent object of existence. The faces and landscape are both incomplete but convey a sense of

 

In the curating process with the teachers and students at Wilston Rd, I felt the openness and limitations of the artwork. For example, video work requires a dark space, painting requires lighting, and sound work requires volume and distance from the power source. These are all things that the artist needs to prepare for in advance. In our exhibition space, the works create a dialogue that conveys a poetic, subtly feminine atmosphere.