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No Such Person Found (2019-2021) was inspired by the discovery that my name had been replaced in the family genealogy by a non-existent male. The story is deconstructed into three parts: the vanished face, the false evidence and the re-enactment of the letters, which are presented through the use of mixed materials and photographic techniques. The precondition of memory is not one of the continuous presence or continuous absence, but rather a shifting relationship between multiple presence and multiple absences. ¹ Through the review and manipulation of the family archive is the means by which I respond to this transformative relationship.

Derrida argues that the archive is fundamentally a political domain, a symbol that governs the entire field and determines public affairs, and that there is no political power that does not control the archive and control memory. Breaking through the boundaries of control, I utilize the act of destruction as a more radical form of preservation.


Perhaps the truth that I desperately seek is just a future with curiosity: what will happen when a prediction with an expectation turned into a fiction.







¹ Aleida Assmann, Cultural Memory and Western Civilization：Functions, Media, Archives (Cambridge University Press,2011)