The project works in collaboration with faculties in the historical and pictorial department in the Art Institute of Chicago, they show their archives so that artists might use the AIC’s collection of photographs and advertising imagery related to their important 19th Century collection.
The Lens Studio is used produces an augmented-reality application, using the Impressionist, Post Impressionist and entire 19th-century painting and decorative art collection as tags. The app will permit users of wireless smartphones or tablets to see moving and still, images integrated into the painting being viewed.
Viewing 19th-century painting and decorative arts through a new-media lens is particularly appropriate because of the “media-archeological” source of advanced virtual-reality computer imaging that can source to the 19th Century.
本项目与芝加哥艺术学院历史和插画系合作，他们展示馆内画作的档案，以便艺术家们使用AIC19世纪收藏相关的照片和广告图像。
媒介：Lens Studio。用于生产增强现实应用程序，使用印象派、后印象派和整个19世纪绘画和装饰艺术收藏作为标签。这款应用将艺术家制作出来的移动和静止的图像，通过AR覆盖到馆内展出的画作之上。
追本溯源，通过新媒体的镜头来观察19世纪的绘画和装饰艺术是特别合适的，因为虚拟现实计算机成像技术最早可以追溯到19世纪。
The general concept behind my works comes from a Buddhist thought “One flower, one world, one leaf, one bodhi”. It means a flower is a universe, a person is also a universe. For the bacterias growing in a flower, this flower is their whole world. I like the interpretation of this “universe”. Each painting is an independent world and has its own story. As a Buddhist, I also believe every existence has a spirit, so I create some creatures and see how they live in their worlds.
我作品的总体概念来源于佛教思想 “一花一世界，一叶一菩提”。
一朵花就是一个宇宙，一个人也是一个宇宙。对于生长在花朵上的细菌来说，这朵花就是它们的整个世界。我喜欢这个“宇宙”的诠释。
每幅画都是一个独立的世界，都有自己的故事；我也相信每一个存在的作品中都孕育着灵魂。因此我创造了一些画外的生物，看看他们如何生活在油画的世界里游走。
• • •
Portico with a Lantern (1741/45)
by Follower of Canaletto (Antonio Canal) (Italian, 1697–1768)
Although at first glance this etching seems to be a straightforward cityscape, it is, in fact, a vedute ideate or a fanciful view.
I execute an imaginary scene by adding a creature. It contrasts with the bird flying out from the hanging lantern and the great ruined monuments beyond.
乍一看，这幅蚀刻画似乎是一幅直截了当的城市景观，但实际上，它展示的是幻想的景观。
我通过添加一个幻想的生物来配合这个想象的场景。与此形成鲜明对比的是，悬挂的灯笼上飞出的鸟儿和远处巨大的废墟纪念碑。
• • •
Still Life with Monkey, Fruits, and Flowers (1724)
by Jean Baptiste Oudry (French, 1686–1755)
I want to create video-game-like scenes that set in European Rococo paintings; creatures from different ages coexist on the same canvas.
Now the monkey is not alone anymore.
这是一副以欧洲洛可可绘画为背景的电子游戏场景; 不同时代的生物在同一幅画布上共存。
现在这只猴子不再孤单了。
• • •
Landscape with the Ruins of the Castle of Egmond (1650/55）
by Jacob van Ruisdael (Dutch, 1628/29-1682)
In this painting, some spooky creatures are trapped inside the abandoned building. They are allowed to come out from the building and play in the woods only when the storm comes. The visual outcome is sort of dark, but it is not scary, these creatures are the special ones. They just want to enjoy the rain and freedom. The sad thing is, even they are not evil at all, they look scary, and they terrify local people. So, the shepherd in the lower right side is escaping and finally disappears in the woods. This is meant to be a happy scene, but the cruel reality changes it to a sad story.
在这幅画中，一些可怖的生物被困在废弃的建筑里。只有当暴风雨来临时，他们才被允许从楼里出来到树林里玩耍。
这些生物是特别的。他们只想享受雨和自由。可悲的是，即使他们一点也不邪恶，但他们的丑陋外貌让当地人感到害怕。所以，右下角的牧羊人受到惊吓逃跑了，最后消失在树林里。这本来是一个快乐的场景，但现实却把它撕扯成一个悲伤的故事。
• • •
Calf’s Head and Ox Tongue (1882)
by Gustave Caillebotte (French, 1848-1894)
At the last moment before being slaughtered, how desperate these animals were? What else did they see besides blood? Anyhow, their spiritual worlds have been erased with the broken body.
Poor souls.
在被屠杀前的最后一刻，这些动物有多绝望? 除了鲜血和疼痛，他们还看感知到什么? 无论如何猜测，他们的精神世界已经被破碎的身体消磨殆尽。
可怜的灵魂。
• • •
Cliff Walk at Pourville (1882)
by Claude Monet (French, 1840-1926)
The X-ray file of the painting shows it originally has a third character, but it was removed during the painting process. So I want to bring that character back as a ghost. Although she has disappeared on the canvas, her soul never left.
X光扫描文件显示，在初稿中它本有第三个人物，但在后续作画过程中被删除了。让我把那个角色变成鬼魂带回来。虽然她在画布上稍纵即逝，但灵魂从未离开。