DATE

4/5/25

TIME

2:40 AM

Art

PART 29. Art

I was exposed to art even though I didn’t know what it was. I thought medium equaled art, or skills and technique equaled to art. I was wrong. I learned that everyone has to find their own way with art, their own understanding of it. And as far as I’m understanding it, mediums are not art, and skills and techniques are not art. 

To me, you could be having the greatest skill and finest craft on earth, and it still wouldn't be art to me, if whatever you decide to create with a medium of your choice doesn’t have a little bit of yourself / your ego in it. Like what I did, it was all imitations of other people’s techniques. Nothing I drew back then was anything I wanted to draw. I couldn’t decide on my own: do I want to do it this way, or that way? This color or that color? Thin strokes or 泼墨? I had an idea. It didn’t have to be one way or another. I felt ambivalent about all of it when it came to pencil sketching, handcrafts, watercolor, calligraphy, etc. It might have had something to do with me never getting “permission” to experiment and fully enjoy those to the level that I did with writing and movies to develop my own taste / preference. It didn’t matter to me, I didn’t think I’d have anything to do with art ever, even though I did like all of my mom’s students' work. There would be some watercolor, color theory assignments, mural practices etc. I was so stunned by their precision and technique that I’d always ask my mom if I could take their turned-in assignments home, and my mom would always say yes. 

My mom’s students would always say hi to me when I visited her at her college. They would be all smiley, and I would be all moody and refuse to talk to them. Sometimes I’d sit in random classes, only to leave early because they were too long. I’d roam around the campus, which was in the middle of nowhere at some quite remote place. This was back then, I heard it’s a somewhat medium-sized city now. There would always be some construction going on, the roads would be quite muddy and hard to navigate, surrounded with all the dust from the sites. 

Every weekday, mom would always wait for a shuttle to take her to work in front of the library next to home. I started waiting for the shuttle with her on some days to go to her work to kill time after I stopped going to school my sophomore year. I’d wait for the shuttle with her in the morning, and a few of her co-workers would come and wait with us, and they’d try to talk to me, and I’d have nothing to say. They called me an alien back then, it was not nice. 

Art is not technique, even though art needs technique, or the lack of it. Everything in a piece should be intentional, should have a purpose, a reason, why it had to be that way, and not the other way around. Art is ego. Art is emotions. Art is a reaction. Art is thoughts, consciousness, pain, struggles, anxiety, fear, peace, war. 

Art is interactive, it does not exist alone. Art is a human / sentient creature experience, any creature putting anything together with the sole purpose of self-expression is art. Art is the inner child. Art is the misfits. Art is not when you choose it, but when it chooses you. Art is therapy, to both the people who do it and the people who enjoy it. Art is a product, it can be sold and bought at Sotheby’s. Art is an investment, it requires time and headspace. Art is anything anyone can do. Art is life. Life is art.


PART 30. Art is life

Art is life. Art is an outward expression of the experience of life in one shape or another. Whether it’d be confusion, frustration, sadness, anger, it’s whatever makes you want to scream, cry, read, or write. Whatever conclusions you draw from another person’s art is also part of art, your responses are part of art. After realizing what it meant to direct in 2018, I decided I did want to choose filmmaking as the craft of my choice for self-expression. Before that, I didn't even notice I had a need for self-expression. I finally realized that I liked dancing for self-expression, that I liked reading for learning / exploring, that I liked motion pictures for entertainment, but I enjoy art for therapy. 

Art was a need, not a want, for emotional stability and self-help therapy. When I see their anger, their pain, how excruciating that might have been, it does bring me relief and peace. When I see novel ways of constructing whatever concepts they might be trying to construct the piece around, I also get entertained. Renaissance paintings and pre-impressionism are extremely impressive, however it’s a language I understand but don’t speak. Modern art is more like first nature, I can use it, choosing a modern medium such as film with less than 130 years of history is quite fitting. 

Toward the end of the 19th century, people were obsessed with the spectacle of moving images. This was the genesis of motion pictures, a spectacle. In Jordan Peele’s sophomore film Nope, he discusses this phenomenon of a spectacle. People came to theaters expecting a spectacle for a while, not art, drama, or emotional catharsis. In 1894, the Lumiere brothers held the first public screening in Paris with short reels like Arrival of a Train at La Ciotat and Workers Leaving the Factory. That was generally considered the first public screening of motion pictures. I need to read more into this, but I was under the impression that the Lumiere brothers came from a very wealthy family. Since the genesis of motion pictures, it was something invented for fun, screened for fun, and people came for fun. I like fun.

It didn’t take long for motion pictures to evolve to having colors, sound, visual effects, special makeup and all that. It became a medium for narrative storytelling. I like hearing stories, and I like telling stories. It started as therapy, continued as entertainment, now grew into a profession because it has allowed me to survive in such a competitive modern world without feeling drained spiritually, only physically, emotionally, politically. But I was going to be drained in that way regardless, let me have my spirit so I can at least hold on.



PART 29. Art

我小时候其实接触过很多艺术,只是当时不知道那是“艺术”。我以为媒介就是艺术,以为技巧和手艺就是艺术。我错了。我后来才明白,每个人都得自己摸索,去理解艺术到底是什么。至少对我来说,媒介不是艺术,技巧和工艺也不是。

哪怕你拥有全世界最顶尖的技艺,最完美的手工活,如果你用这些媒介创造出来的东西,里面没有一点“你自己”——哪怕只是一点点自我、ego,那对我来说它就不是艺术。我以前做的事就是这样,全都是模仿别人的技法。我画的那些东西,没有一张是我“想画”的。我完全不知道自己有没有选择的自由:我想这样画还是那样画?这个颜色还是那个?细线条还是泼墨?其实我心里是有想法的,也不是非黑即白,但每当我接触素描、手工、水彩、书法……我就始终处在一种很模糊的、游移不定的状态。也许是因为,我从来没被“允许”去随便试、去尽兴地玩这些东西。不像我对写作和电影那样,那是我有机会深入的,所以才能发展出自己的品味和偏好。

不过当时我也没觉得可惜,我根本不觉得我以后会跟“艺术”有任何关系。虽然其实我很喜欢我妈学生们做的那些作业。有时候是水彩课的作业,有时候是色彩理论练习,还有大墙上的那种壁画练习。我会被他们的精准和技术吓到,然后就缠着我妈问能不能把这些交上来的作业带回家。我妈总是说可以。

每个工作日早上,我妈都会在家旁边的图书馆前等校车去她学校。有段时间我不上学了,开始有时候跟她一起去她学校打发时间。我陪她等校车,她几个同事也会来一起等,他们会试着跟我聊天,我完全接不上。他们那时候还叫我“外星人”,可能不是赞美。她的学生倒是没那么介意我的”外星人“,看到我来学校都会和我打招呼,笑得特别多,我很想跟他们交谈、但因为害羞而不知道该说什么。有时候我会随便进一个教室坐着听课,但总是提前离开,课太长了。我会在那个学校里闲逛,它在一个特别偏远的地方,现在听说已经变成一个还算可以的城市了。当时总是在施工,路泥泞得很,到处都是尘土飞扬。

艺术不是技术,虽然它需要技术,或者故意不要技术。在一个作品里,所有的东西都应该是有意图的,应该有理由存在。它为什么是这个样子,而不是那个样子,必须说得通。

艺术是ego,是情绪,是反应,是思考,是意识,是痛苦,是挣扎,是焦虑,是恐惧,是和平,是战争。艺术是互动,它不会独立存在。艺术是人类、或所有有意识的生物的经验。只要你做某件事的出发点是表达自己,那就是艺术。艺术是那个“内在的小孩”。艺术属于异类、边缘人、不合群的那群。艺术不是你选的,是它选了你。

艺术是治疗——对创作者和观看者来说,都是。艺术是商品,可以在苏富比拍卖。艺术也是投资,需要时间、需要空间、需要你愿意在脑海里留一个位置给它。艺术是任何人都可以去做的事情。

艺术就是生活。

生活,就是艺术。


PART 30. Art is life

艺术就是生活。

艺术是生活经验的一种外化表达,无论它以什么样的形式呈现。可以是困惑、沮丧、悲伤、愤怒,是那些让你想尖叫、想哭、想读、想写的东西。你从别人的艺术作品中得出的任何结论,本身也都是艺术的一部分,你的反应也是艺术的一部分。

2018年我终于理解“导演”到底意味着什么,也是在那时我决定,电影是我想选择的表达方式。在那之前,我甚至没有意识到自己有“表达的需要”。

我后来才意识到,我喜欢跳舞,是因为它能让我表达自己;我喜欢读书,是为了学习和探索;我喜欢看电影,是因为好玩;但我真正需要艺术,是因为它像一种心理治疗。

艺术对我来说是“需求”而不是“想要”。它是我情绪稳定和自我疗愈的方式。当我看到别人作品里的愤怒、痛苦,那种“我无法想象他们是怎么挺过来的”那种东西,反而会让我感到平静、获得释放。而当我看到他们用非常新颖的方式构造一个概念,我也会被娱乐到。文艺复兴和印象派之前的画作当然很厉害,我能看懂,但我不会说那种语言。而现代艺术就像是母语,我能用它。选择电影这种还不到130年历史的媒介,刚好适合我。

19世纪末,大家开始着迷于“移动影像”这个奇观。这就是“电影”的起点,本质上就是“奇观”。Jordan Peele 的第二部作品《Nope》里有讨论过这个“奇观”的概念。早期观众进电影院,是为了看热闹,不是为了看艺术、戏剧、情绪释放。1894年,卢米埃尔兄弟在巴黎搞了第一次公开放映,像是《火车进站》《工厂下班》这种短片,一般被认为是电影史上第一次公开放映。我还没认真查,但好像他们家很有钱。从一开始,电影就是被当成“好玩”的东西发明出来的,也是为了好玩而放映的,大家来看也就是图个好玩。我喜欢好玩。

电影很快就进化了:有颜色,有声音,有视觉效果,有特效妆。有叙事,有故事。我喜欢听故事,也喜欢讲故事。对我来说,一开始它是疗愈,后来是娱乐,现在变成了一个职业。因为它让我在这个竞争极其激烈的现代社会里活下来了——没有在精神层面被掏空,只有在身体上、情绪上、政治上被掏空。

但这些被掏空我本来也无可避免。那至少,把我的“灵魂”留给我,好让我还能抓住点什么。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。