Qiushi's works start from the historical context he is thrown into.
He believes that photography and its derivative images are one of the infrastructures of social and economic exchanges, and his works are not intended to interpret the path of contemporary photography and the possibilities of image forms,
but to take that methodology and schema as an opportunity to find the spiral history of interaction between images and human nature.
He believes that contemporary photography should not only focus on the innovation of disciplinary methods or new case critiques,
but also on the continued exploration of the subtle checks and balances between the mechanisms of image production
and the relatively constant desires of individuals (collectively) based on the local context.
The Gaze from B Class Vehicle
From the DaLian Port to Mediterranean
From the Gulf of Aden to the Gulf of Mexico
I have assembled images of countries and regions that have been placed at the diplomatic table or tied to different times and spaces in the process of globalisation,
and these fictitiously organised fragments of reality become pre-existing facts under the guise of images.
When geological features, urban plans, cloud formations, scale and noise conform to our perception of the image,
but then err in the logic of history, truth and falsity loosen the power of vision, and the image itself appears in misunderstanding.
The self-sufficiency of nature or fact is only accidental; it is the meaning and question that forms the chain of history.
Taking symptoms for medicine
Worship, art, reproduction, these co-exist in photographs. And what interests me is their seclusion in the process of changing from reality to image. Nowadays, images are immersed in our lives and work, and unlike the old days, production no longer means having the power of interpretation.
In the midst of my doubts about the repeated transformation of the meaning of images, I take a lot of photographs in the traditional way of photography, with various types of film or digital, with ready-made, and with different aesthetic rhetoric, in order to reveal how images react to reality in different states.It can be a personal diary or a kind of currency in the market of meaning.
Through the works, I can see how images become a transit point between desire and reality, and I can reflect on the sacrifices and transactions attached to the exchange of images in today's society.
These surfaces, favored by history and war，stir us into all experiences that have lived in （PRC，after 1949）history;
They re-link and redistribute texts in sensibility,
allowing us to pass unnoticed into a future in which the individual and the collective are entangled and irreversible.
Black stone stall
This project based on a visual and archival study of post-military units in the South Central China.
This type of organization provides more jobs and infrastructure to the surrounding area, but also remains somewhat disconnected from regional development due to conflicts with local government jurisdiction and relative economic independence.
An interesting but realistic contrast emerges in these communities, both in terms of physical environment and in terms of the way people think and perceive themselves.
There reveal a state of both integration with rural ethics and a highly unified modern system; a unique story of both political parties and rural ghosts.
When I step into these relics that once belonged to the Emperor, there is always the sun high in the sky.
The blinding light turns the solid high walls into a blur of black shadows.
Inside must be an void，
Absence, suppressing all the warblings.
“实验室研究”（Laboratory studies）是科学知识社会学( SSK) 在 20世纪 70 年代形成的一个研究热点，侧重于对科学研究活动进行田野调查，将实验室看做一种社会建构。在这之前，传统科学哲学关注的焦点是实验，而非实验室。科学知识社会学认为实验室不是自然呈现的场所，反而作为制度环境遮蔽了科学研究的真实过程，人们难以看到形成中的科学是怎样的。其是生产知识的场所，是一种社会与政治机构，所有人员和活动都是围绕发表知识产品而构筑。
The Reprogrammable series is a visual translation based on the environment and practices of the laboratory of Millimeter Waves.
"Laboratory studies," a research hotspot formed by the sociology of scientific knowledge ( SSK) in the 1970s, was concerned to examine how scientific knowledge is a social construction or laboratory production. Prior to this time, traditional philosophy of science focused on experiments, not laboratories. The sociology of scientific knowledge sees the laboratory not as a site of natural presentation, but rather as an institutional environment that obscures the real process of scientific research and makes it difficult for people to see what science in formation looks like. Its a site for the production of knowledge. It is a social and political institution where all people and activities are constructed around the production of knowledge products.
In the laboratory, natural objects are intervened in again and again, becoming disintegrated entities and transient object states. The natural object is no longer in its original state, but a remodeled substance.
I bring you woven bags dipped in blue