The pace of life in Chiang Mai, Thailand, is extremely slow. During my travels, I was attracted by its tranquil and lively atmosphere, especially in the state in which people are calm and comfortable. Observing their every move, I can't bear to interfere. Sometimes, they seem to convey to me such a message: no image is constructed, everything should be subordinated to life.
But I must do something, even if it is a little dramatic. So I studied some clearly constructed images in the history of art, such as the gestures of some classic sculptures, those that were recognised as portraying the most perfect face of Westerners, with a harmonious body proportion, developed muscle lines and the most dynamic moments of tension. They speak for their own cultural background and ideology, but in real life, they rarely appear in these gestures, perhaps only in people's imagination.
I chose different scenes of life in the city and tried to arrange stories in it to create a situation in which these gestures naturally occur. Anyone can participate freely and play the role in the scene. The new images constructed in these secular scenes are not contextual, and their gestures are divorced from their original story background and lose their unique meaning.
After accepting the baptism of the secular life again, and quickly integrating into it, is it still out of place and is it becoming a new imagination? It may be the moment of choice for everyone hidden behind the image.
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