四象扇 1-3，2025
水墨、绘画、文字
纸扇印制
展开尺寸：23 × 42 厘米
纸扇印制
展开尺寸：23 × 42 厘米
Four-Image Fan 1-3 , 2025
Ink, painting, letter
Printing on paper fan
Open size: 9 × 16.5 in
Printing on paper fan
Open size: 9 × 16.5 in
After completing Dualism, I began to realize that much of East Asian education discusses philosophy primarily through oppositional frameworks — binaries, contradictions, dialectics. Such thinking, while clear, tends to flatten the complexity of our experience.
I do not wish for the interpretation of art to be confined by the same binary logic — as either good or bad, right or wrong. Art, to me, should open up more dimensions of perception, allowing for ambiguity, coexistence, and transformation.
While studying folding fans, I noticed an inherent structural logic: a fan has two sides, and each side has a left and right. Altogether, it reveals four orientations, or what I call the Four-Image Fan (四象扇).
On each surface, I painted a different image, treating the fan as a thinking device that expands beyond the dualistic frame. Each face exists independently yet connects with the others — much like life itself: layered, intersecting, and interdependent. Through this structure, I attempt to shift from opposition to coexistence, letting the work reflect the intricate simultaneity of the real world.
在创作《二元论》之后，我开始意识到，大部分东亚教育体系中的哲学讨论，往往停留在对立的思维结构之中——非此即彼，是与非，对与错。这样的结构虽清晰，却也限制了我们对世界复杂性的感知。
我不希望艺术作品的理解也被限定在这种“二元逻辑”中。艺术不应只是“好”或“坏”、“成功”或“失败”的判断对象，它更像一个多维的生成场，允许模糊、游移与并存。
某日研究折扇时，我注意到这件日常之物本身具备有趣的结构逻辑——折扇有两面，每一面又分左右，于是总共有四个方向、四个“面向”。这启发了我：若将其视为一种思维模型，它已超出“二元”，成为“四象”。
在此基础上，我在扇子的四个面上绘制不同的物象，使之成为一个可展开的思考装置。每个面既独立又相关，如同生活本身：交叠、错位、相互映照。通过这个结构，我尝试让作品从“对立”走向“并行”，在多维的关系中呈现出一种更贴近真实的复杂性。
Han_四象扇1 FourImageFan1.V1
Han_四象扇1 FourImageFan2.V1
