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Experimental Communication

Shan Wan

To make a video, we must let the unconscious flow. Unconsciousness is a bit like a shy pet. You need to set up a situation for it to trust. If it comes out to play, you can feed it, pay attention to it, can't ignore it, and scare it. When you have a sense of security, now we can make mistakes, we can be fools. it doesn't matter, we are here for fun.

Because I love the possibility of contacting different people and discovering the world, my works focus on the relationship between the diversity of human existence, social development and human existence. In my works, the preciseness of science, technology, and information combines human sensibility, diversity and conflict. My creation is also rooted in traditional culture. I often look at the world around me from the perspective of strangers, find noneveryday things in daily life, and transform them into image language. I attach great importance to the research in the development of the works, especially the research on people and related experiments, such as the simulation of information collection and storytelling. These experimental results are very helpful for me to determine the development direction and presentation form of the final work.

I think identity is not just the typical area represented by this name. With the integration of multiple disciplines, artists can develop practical and conceptual management skills to the forefront of their chosen careers. These are new and valuable creative content for me now. Driven by practical skills and critical thinking, I participate in a variety of creative cooperation.

Degree Details

School of Communication

Experimental Communication

A man who disappeared from the family.

The image was invented to record the objectivity. By questioning the objectivity of the image, a blurred picture of him was left, trying to spell out his picture with memory fragments, trying to condense all memory into symbols. And in the image, through the establishment of parallel space mode, create surreal space "encounter", try to dialogue and collision with him. I explore the relationship between past and present, memory and reality, personal memory, and collective experience

People's own consciousness is not only to listen to their own hearts, it is also a reflection of the environment to a great extent, and the threat of the system is everywhere. If we go deeper, we may touch the truth of things, and things that we can't see will appear. There is a moment when we grasp the truth, but it is fleeting.

If we go deeper, we may touch the truth of things, and things that we can't see will appear. I always don't believe what I see, because I always imagine what's behind it.

There is a moment when we grasp the truth, but it is fleeting.

Solidified Waves — There are 24 frames per second in the film. Our time is composed of seconds, minutes, and hours. If a ripple represents an instant, then our life is a sea. Therefore, I use the symbol of waves in the film to the metaphor that individuals are vulnerable to the torrent of history. The absurdity of social life and its force on human beings。 Perhaps, the existence of nothingness itself is a kind of truth.

This project attempts to reorganize the memory fragments of my individual family, criticizes and rethinks the "real" history praised by the mainstream system, excavates and reorganizes the hidden narrative in experience and memory, and creates a contradictory space parallel to time and space, triggering the audience's exploration of individual memory and collective experience, present and past, fantasy and reality. Through critical thinking about the authenticity of the past history, and whether this way of writing history will continue to affect the history and memory of our generation in the future.





Those dreams I can remember, always with the water.

Big river, ocean, swimming pool.

The blue ones, the green ones, the beige ones, the frightened yellow ones. There are buildings on the water in those dreams.

Old factory, hotel, a small temple, tower bridge.

People on the tower bridge yelled, "it's time to get off work! We're going to the city! Go jump! Go drink! Go fuck! I am always a spectator of these buildings, a visitor, a sm animal that breaks in and is swallowed up. I laugh in panic and wake up in tears.

The water is still spreading in my waking bedroom. My eyes start blankly into space. My cell phone is full of electricity.

My father said that he would stay away from the water, and the fortune teller said that he would stay away from the water in his life. Let him be. There are noble sighs, disappearing navigations, newly recovered venereal diseases, and imperceptible tears.

When you wash your feet with pool water, no one resents, no one watches, no need to hug, but you are always held.

This is what you gave me and don't want me to remember.

Now, it's fire.

A military base abandoned for 30 years

Mourn it with the most traditional way of Chinese sacrifice Give spiritual comfort

Go to sleep.

Turn to ashes, to dust, to birds.

Go to your grandpa's arms.

Postman-Burning 30 — This project is the first part of <Solidified Waves>, which discusses personal memory and collective experience at the same time. <Postman burning-30 > is for me to enter the memory of old ruins for interaction, while <Solidified Waves >is to replace historical fragments into modern digital technology for reconstruction and restoration.

By restoring the environment of a series of collectivist symbols such as the old factories in China in the 1980s, and adding personal fantasy elements. Based on the continuous exploration of virtual reality, this paper explores how it fundamentally changes our self-cognition and the way we understand reality. In my works, the dislocation between reality and virtuality always exists. It's more like a sacrifice, presenting a disordered state of time and space, which may also be our "normal" in the future.