| My work is an improbable fable consisted of the simplest stuff that people often ignore. I feel sentimentality about time and the circusy nature of romance is something fantastical. I’m not interested in simplistic or pretentious romanticism. What interests me is something like a subtle feeling that strikes when I see a gold-plated cloisonne carelessly placed beside an army cap. Sometimes, when I’m faced with lots of garbage, including reality and the things we define as culture in reality, or a face (what’s behind the face is more interesting), or scenery I see on my journey (I wonder how many people have gazed upon it as I have), it always moves me tremendously. History is like a vampire in the present. How do we understand the beauty of the ridiculous people and things around us? I myself cannot. |  |
Han Lei
My work is an improbable fable consisted of the simplest stuff that people often ignore. I feel sentimentality about time and the circusy nature of romance is something fantastical. I’m not interested in simplistic or pretentious romanticism. What interests me is something like a subtle feeling that strikes when I see a gold-plated cloisonne carelessly placed beside an army cap.
Sometimes, when I’m faced with lots of garbage, including reality and the things we define as culture in reality, or a face (what’s behind the face is more interesting), or scenery I see on my journey (I wonder how many people have gazed upon it as I have), it always moves me tremendously. History is like a vampire in the present. How do we understand the beauty of the ridiculous people and things around us? I myself cannot. That’s probably why my work is more focused on individuals, or a special individual, and their feelings of strangeness.
