July Tibet
I couldn't draw a firm conclusion from the woman's movements: schizophrenia or not. Perhaps the person who grasps the process cannot imagine that there is a collector of mentally ill people hidden among the audience, or that brutally interrupting any attempt to grasp the woman in another way is one of his intentions. Therefore, I can only search for all the broken pieces from the fog that rises from time to time in various ways. Fortunately, the pieces themselves are one of the characteristics of the breakup.
But the difficulty of collecting debris lies in what kind of standards to establish or rely on. Before this problem is solved, all the work seems unsustainable. What kind of pieces do you need? Whether those broken on the surface can be called fragments and collected is always the focus of intense inner debate. The emergence of such a debate inevitably runs the risk of setting the character aside, so putting that aside for now, let's get back to the character itself, to where we're trying to start.
A woman walks through the city like rain. She walks through the ruins of the city. The ruins are positioned or characterized as red. One color is often mixed with other colors to produce the effect we expect. Therefore, those who grasp the process take the initiative to present red in the In front of us, whether we can be aware of his intentions or whether this active presentation can produce some meaning that he himself may not be able to grasp is the next level.
Part of that wall is also red, like red bricks on a street corner, which is another piece of evidence I've found about the Insurgents that women, not those in control, leaked. The Insurgents allied with the Red in a hidden place made my search a little harder, but my attempts to enter their hidden place were in vain.
In fact, in these painstakingly constructed scenes, women give way to the theme of division itself and take a second place. She becomes the vehicle for the manifestation of schism, and schism grows in her, exaggerates, deforms, hides or reveals in ways we are not familiar with. When a woman hears a non-existent voice in the fog, the tear on her body is conveyed to bystanders, but they are still, in the fog at this time we can only see her struggle, and the other man just For the purpose of symbolizing love, which can have an effect equivalent to division in the early stages of confusion, it also struggles with appearance.
She didn't need him, she never needed him, and maybe the fact that she kissed him in the fold at some point didn't mean his desperation had anything to do with her.
The people in the fog seem to stay in stillness and seem content to be in a context of "stillness", which is the reason for her despair and tearing.
The woman walked through the ruins, through the rain, through the thick fog, standing naked in front of you and me. Her eyes came from the fog, our eyes were on the fog, and this was the reason we met. I really can't find the second intersection.
The creation of red and numerous fragments in the fog gives the grasper a certain dignified but concealed effect or a position where he can advance and retreat. The fog is gray, the ship is gray, the clothes are gray, and among the many grays The uninterrupted flashes of red are acquired, possessed, and ascended in the process of flashing.
Mist, red, debris.
I tried to restore the actions formed by N seconds and one frame to each "one" in the scene. As for the meaning of this restoration itself, I am not able to grasp it, just like the grasper pessimistically imagined his own efforts at the beginning.
But perhaps one can speculate optimistically: in this constant decomposition process, we are approaching some impossibility, is this the reason why I am still here, the reason for her despair, the tearing, or the whole reason?
1/2, 2002
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