Huaiyi Du

HUAIYI DU

HUAIYI DU WEAVES dreams and memories INTO CAPTIVATING VISUAL NARRATIVES THROUGH EVOCATIVE photography. WITH A KEEN EYE FOR THE surreal, DU'S WORK INVITES VIEWERS ON A THOUGHT-PROVOKING JOURNEY THROUGH memory and perception.

ARTIST STATEMENT

Ever since arriving in the UK, my sleep patterns have become erratic, owing to the shifts in climate and latitude. Consequently, I find myself struggling to attain deep slumber, instead traversing through a night filled with incessant dreams. Though I diligently catalogue these dreams, their sheer abundance often leaves me feeling drained. If one were to consider the concept of multiple universes as a means to grasp the spectrum of possibilities, then dreams undoubtedly serve as the vessels through which such experiences are lived.

In contrast to my prior endeavours exploring dreams and memory, my recent endeavours have honed in on the intricate relationship between dreams and alternate realities. From the confines of singular waking life to the boundless expanses of dreamscapes that defy conventional categorization, my fascination lies in uncovering the interconnectedness between these realms.

I harbour a deep affinity for the act of dreaming, finding myself endlessly captivated by its enigmatic nature. Dreams offer me a kaleidoscope of perceptions, presenting facets of reality I may have overlooked, forgotten, or never encountered before. These visual impressions often seep into the reservoir of my memory, serving as wellsprings of inspiration for my creative pursuits. The genesis of what I term "illusory memories" lies in the nebulous boundary between tangible, objective recollections and the ethereal remnants of dream experiences. Within this realm, the lines between truth and fiction blur, ushering forth an oasis of boundless imagination.

ARTWORK STATEMENT

This series of photographs is curated from different collections I've created in the past. Some explore the themes of dreams and memories, others delve into the perception of déjà vu, while a portion depicts cognitive errors. Throughout my creative process, I've consistently aimed to situate the contextual meaning of the images between reality and surrealism, to express abstract concepts like memory and emotions. These photographs represent my exploration of personal dreams and memories at different stages of my life. I believe that individual visual memories often distort original memories. For example, during sleep, real memories are continually reshaped and overlaid through dreams, and over time, these inaccurately conditioned memories tend to replace the original ones. I often believe that things I've seen in the past were a certain way, but often they are not. This conviction and reality often diverge. Once the boundaries of this reality become less tangible, perhaps ambiguity represents another aspect of the world.

Your exploration of dreams and alternate realities is fascinating. Can you delve deeper into how you translate these intangible experiences into tangible visual art forms?

I believe that humans rely much more on visual information than on other forms of perception. It's often easy for us to recall something specific or evoke an abstract emotion from a particular object or scene, whether familiar or unfamiliar. Any emotional resonance generated through inspiration from a scene or object is a result of a concrete object, which then extends into a certain emotion in our minds. This process is an innate ability in humans.

In my creative process, I simply reverse this process. I've always been sensitive to emotions, and I tend to dwell on dreams or sudden flashes of memory that linger in my mind for a long time. These mental images often bring me a continuous emotional comfort, whether warm or cold. In my artistic expression, I use tangible objects or objective scenes around me to recreate these mental images. I don't aim for a completely objective recreation but rather a contextual similarity. Essentially, my personal experiences or memories themselves undergo dynamic changes, so depicting the atmosphere of the context is my main focus in expression. Whether it's a camera or digital media, tools and mediums are merely means to an end for me. I don't rely on them.

Your series "Honey Pond" and "Incomplete Investigation Archives" offer viewers a glimpse into the intersection of reality and surrealism. Could you elaborate on how you navigate this delicate balance in your photographic compositions?

I believe the middle ground between reality and surrealism is my creative realm. Therefore, sometimes my works may appear quite common in life, while others lean closer to surreal experiences. The key factor in my creations is imagination. Imagination bridges a vacuum between reality and surrealism, where all reasonable and unreasonable existences coexist. We all know that imagination is ubiquitous in real life. For example, the sources of information we encounter daily, such as newspapers, media, and the internet, are mostly "fabricated by imagination." The extent to which they are fabricated depends on our subjective willingness to accept them. The ultimate pursuit of truth is unrealistic because truth itself is inherently difficult to define. Many phenomena in life are analogous to the superposition concept in quantum theory. Probability provides a rational entry point to explore the world, where anything can exist, disappear, or transform into something else under specific circumstances.

On the other hand, I am very fond of Deleuze's concept of "intensity." The continuation of any form or emotion can lead to vastly different outcomes due to differing intensities. When creating these works, I first abandon the notion of precise objective expression and instead provide myself with a certain creative context (between the real and the unreal). Guided by emotional experiences, I explore the different "intensities" of emotions. These varied emotional experiences give rise to the diverse nature of each piece of work.

Memory and emotion seem to be recurring themes in your artistic practice. How do you approach capturing these abstract concepts through the medium of photography?

Rather than capturing, I believe shaping is a more fitting term. Because most of my works are primarily directorial in nature, I only present what I deem to be the correct visual content. The elements and scenes depicted in my works are largely subjective representations or creations. I do not want to rely on the documentary attributes inherent in photography. This is why I currently use methods such as scanners, printers, and AI technology to present my works. Personal memories and emotions are intimate and abstract. When expressed on a twodimensional plane, much of the original conceptual "thickness" is inevitably lost. On one hand, flat photography is directive, as the expression of a photo is more focused, and any element in the image will guide the viewer's thoughts to a certain extent. However, on the other hand, due to the limited expression space, photos can provide viewers with more room for imagination. Therefore, this seemingly contradictory medium has a reasonable expressive capability for me.

In your statement, you mention the concept of "illusory memories." How do you create visual narratives that blur the lines between truth and fiction, inviting viewers to contemplate the nature of perception?

In fact, "illusory memories" occur in the lives of most people. For example, when you and an old friend discuss a past event you both experienced, your perspective and your friend's perspective may not necessarily align. Perhaps in your own memory, the sequence of events and many details of that event are completely different from what your friend describes. It's also possible that they add many things beyond your recollection, supplementing your memory. However, we all know that memory is subjective and biased to some extent. Others' descriptions can also influence our recognition of past memories. Memories here can be supplemented, altered, and edited, leading to " illusory memories." As mentioned in George Orwell's novel "1984," "Who controls the past controls the future." In today's society, living under certain levels of indoctrination also implies indoctrinated memories. We may think we are thinking, but are we really thinking? Or are we unconsciously extending a trained, erroneous result under false memories and experiences? In my works, I hope to evoke in the audience a perception of the essence of life. However, on the other hand, I hope the works themselves convey a sense of falsity, telling the audience that these stories and narratives are all fictitious.

Could you share your process of curating photographs from different collections to convey a cohesive narrative in your series?

Most of the time, I'll read through a novel in one go, and then, relying on my own understanding and memory, I'll optimize and change a story. Sometimes, I'll adapt a story based on my preferences (drawing from personal experiences), and of course, at times, I'll invent stories on my own, similar to writing a script. Then, it's about executing the script, which is similar to referencing for commercial shoots. However, in this process, I first match the fragments of trivial memories and what I perceive as "subjective images" in my mind one by one, clarifying an expressive context. When creating my own creative script, even searching for accurate image information from a large collection becomes efficient (whether from past photos or collected magazines), much like piecing together a large picture story relying on visual memory. Overall, you're a storyteller, but it's not about visually adapting the storyline. What I do is more like collage art, where narrative logic is not important, narrative context is my focus. At the same time, I need to create from my own executive aesthetics, including but not limited to reprocessing visual information received, to innovate.

Your work often evokes a sense of déjà vu and cognitive errors. How do you use photography to explore the ambiguity and distortions inherent in human memory?

As I mentioned earlier, humans mostly rely on visual perception. Why do people always say "seeing is believing"? From memory to instant reactions, we tend to prioritize visual cues. However, the limitations of vision are manifold. When observing the color and form of objects, factors such as viewing angle and lighting can lead to very one-sided visual memories. Once these memories are transformed into ingrained experiences, both the ambiguity and distortions will influence human behavior. Photography, as a medium rooted in visual perception, precisely exemplifies the limitations of vision. From historical photos, epic photos, and accident photos to advertisements, magazines, and personal selfies, it's too easy to fabricate because we rely on visual perception. This physiological cognitive structure makes us prone to cognitive biases, so I believe it's appropriate to use photography to raise this issue.

As an artist, what do you hope viewers take away from experiencing your photographic creations?

For the audience, it's difficult for me to ask others to fully understand what I create because everyone's experiences are different, so it's hard to say. But for the original intention of my creation, whether it's my works about dreams or fictional stories, I hope to remember in the virtual realm I shape those forgotten, rejected, avoided, unspoken, suppressed, and all disappeared emotions and things.

In your opinion, how does ambiguity enrich the viewer's understanding and interpretation of visual art?

Ambiguity provides more room for imagination. My works signify a paradise of imagination. When visual symbols lose their precise direction, our imagination comes into play. For the missing or blurry elements in the picture, viewers naturally engage in their own "filling in the blanks" based on their experiences. I believe that stimulating imagination is itself a form of interaction between the artwork and the audience, rather than presenting all the information in the picture clearly. Allowing viewers to appreciate visual works from a distance creates a sense of equality, rather than a form of unequal "admiration."

What new themes or concepts are you excited to explore in your future artistic endeavours?

Currently, I am working on a series of works about "everyday objects." There are still many technical issues that need to be addressed, but they should be completed gradually in the second half of the year.

ARTIST BIO

HUAIYI DU WAS BORN IN 1993 AND CURRENTLY WORKS AND LIVES BETWEEN London and Beijing. HE GRADUATED FROM THE Beijing Film Academy IN 2016 WITH A BACHELOR'S DEGREE IN arts AND NOWADAYS HE IS STUDYING IN UAL FOR fashion photography MA DEGREE. HE IS GOOD AT USING PHOTOGRAPHY AS A MEDIUM TO EXTRACT THE continuation of emotions in real life, AND RETAIN THIS EMOTION IN OTHER FORMS. HE HAS ALSO WORKED AS A cinematographer AND director OF SEVERAL INDEPENDENT FILMS, TELLING FILM STORIES IN A UNIQUE VISUAL LANGUAGE.

REVIEW

Huaiyi Du's artistic journey traverses the ethereal landscapes of dreams and memories, capturing the intangible essence of these experiences through the lens of his camera. In his series "Honey Pond" and "Incomplete Investigation Archives," Du invites viewers into a realm where reality intertwines with surrealism, blurring the boundaries between the tangible and the abstract.

One of the most striking aspects of Du's work is his ability to translate complex emotions and elusive concepts into tangible visual forms. Through photography, he extracts the continuation of emotions from real life and encapsulates them in images that resonate with viewers on a profound level. Each photograph in his series serves as a window into the depths of the human psyche, where dreams and memories converge to create a rich tapestry of experiences.

Du's exploration of dreams and alternate realities is particularly compelling. He navigates the delicate balance between the real and the surreal with finesse, creating compositions that are at once familiar and otherworldly. His meticulous attention to detail and nuanced approach to storytelling allow him to convey abstract concepts such as memory and emotion with remarkable clarity.

The concept of "illusory memories" lies at the heart of Du's artistic practice, as he seeks to uncover the intricate interplay between truth and fiction. Through his photographs, he challenges viewers to question the nature of perception and the reliability of memory, inviting them to contemplate the subjective nature of reality.

In terms of technique, Du demonstrates a mastery of his craft, employing a variety of visual elements to evoke specific moods and atmospheres. His use of lighting, composition, and colour creates a sense of ambiguity and intrigue, drawing viewers into his surreal world and encouraging them to explore its hidden depths.

Overall, Huaiyi Du's work is a testament to the power of photography as a medium for artistic expression. Through his evocative images, he invites viewers on a journey of introspection and wonder, where the boundaries between dreams and reality blur and the mysteries of the human mind are laid bare.