Masks of Masks (2019)
It’s a farewell of true faces, a routine
and a time loop in the age of beautified selfies.
影像中艺术家雕刻的自己的脸，并制成塑料面具来’矫正’成为好看的模样。从不间断的面具制作是一套惯例，是一种循环，也是在美颜p图时代对真实的脸的告别。
影像中艺术家雕刻的自己的脸，并制成塑料面具来’矫正’成为好看的模样。从不间断的面具制作是一套惯例，是一种循环，也是在美颜p图时代对真实的脸的告别。
This project began with the disappearance of my cheek piercing in a beauty cam app. The app will automatically beautify your face when you use it to take selfies, so you can have big eyes, flawless skin, small face in the picture. I didn’t think much about it until the app automatically erased my piercing, and I got a little bit mad because the ‘beauty app’ doesn’t think my cheek piercing is pretty. When I looked at other auto-modifications, I suddenly realized that there’s such a huge cultural bias that was reinforced by this kind of technology.
In Face and Mask: a double history, Hans mentioned that by looking into the mirror, we not only have ourselves looking back, we also see the social gaze. The masks we put on are not only shaped by ourselves but also sculpted by the culture we are in. The ‘beauty’ templates and filters in that app are like foot-bonding or Corsets in the modern age. It’s so easy and painless for us to constantly make those cybermasks and squeeze our faces into them, that we don’t even notice our true faces are gone.
In Face and Mask: a double history, Hans mentioned that by looking into the mirror, we not only have ourselves looking back, we also see the social gaze. The masks we put on are not only shaped by ourselves but also sculpted by the culture we are in. The ‘beauty’ templates and filters in that app are like foot-bonding or Corsets in the modern age. It’s so easy and painless for us to constantly make those cybermasks and squeeze our faces into them, that we don’t even notice our true faces are gone.
2025年，我用玻璃重新制作了这样一副面具。内部是我自己的脸，外部是模板的脸。它像灰姑娘的水晶鞋一样，你需要将脸挤进那个易碎美好又如刑具版的玻璃容器里。
The glass version of the mask
The glass version of the mask
