Destiny, an enormous mixed-media installation uncovers a chapter of appalling and screaming scenes: natural catastrophes and man-made calamities, falling mountains and cracks in earth, countless bullet holes in barrels, dirty oil stain badly everywhere, giant metal chains crawling out of a broken and rusty black box, squirming painfully back into mud, just like a serpent from Pandora’s box. The black box is perhaps related to flight recorder or the car of express train. Meanwhile what is confronting them is the tiny creature keeping producing a thin, warm and white filament and trying to cover everything with the soft thread. Yet the fiber is so strong that it somehow manages to twist the chains. Faced with all sorts of disasters and accidents, together with crushing tyranny, fierce battle, whirlpool of ‘black gold’, air disaster, car crash, the distorted and nearly buried life never backs off or gives in to fate. Silk fiber becomes the allegory of destiny. Destiny is a continuation of The Unbearable Lightness of Being. Yet the directions they refer to are not the same. If we say the creation of The Unbearable Lightness of Being between 2002 and 2007 draws a vertical line, holding a firm belief in the battle of destiny, and releasing a statement on behalf of the whole human race to the era of the early 21st century with reference to the firmament, then Destiny speaks explicitly about a great number of confusion
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