The idea of “Family View” originates from “The Witnesses of Yow Family”; the latter focuses on the objects of the house. After using them, traces of time are marked and they are considered as the eyes of “The Witnesses of Yow Family” that witness the changes of the house. On the contrary, “Family View” intends to explore the visual connotations of the objects’ skin with the relationship of the objects and the scenario as they would gradually become the scenes of each of the corners in the house.
The series of “Family View” is preliminary divided into three stages. In each of them, the unique scenery in the house is being discussed based on the composition and the content on the screen. The works at the first stage are basically the corners of the home, commonly seen, as the little stages of the screen. Together with the utensils, they even play roles with dialogue of “scene” and “objects” in an atmosphere of cultural coexistence with murmur and lovely ambiguity.
The works at the second stage emphasizes the concept of mutual merges of “objects” and “scenes”. Scenes are displayed in the “objects” which clearly transform into a unique scenario of another house. “Que Er Tu”, “Niao Er Tu”, “Shuang Yu Tu”, “Ru Er Tu”, and “Hu Er Tu” are longing for this concept. The scenes within the embroidery creates a new visual language by using repeatedly the drawing and colors of traditional New Year painting; they silently become the bridge that conveys culture.
The works at the last stage cut in with traditional food, reflecting their understanding of life. Through the exploration of food culture that goes deeper to the ethnic taste habits, it is internalized into another presentation form of the nation, the individual and the identity recognition. With the concept of food menu, the meanings and functions of the food themselves are presented individually.