Sailor
2021 · Artist publication using found and appropriated images,
self-portraiture, personal phone archives, and re-photographed magazine material
self-portraiture, personal phone archives, and re-photographed magazine material
Sailor is a three-part publication exploring queer selfhood
through images gathered from the internet, second-hand visual
material, selfies, personal phone archives, anime, commercial
imagery, and re-photographed gay magazines.
Across Eden, The Orchid Man, and WishList, images are cropped, borrowed, filtered, enlarged, re-photographed, and rearranged into unstable constellations. "Profile Not Found" opens and closes The Orchid Man, while flash glare, halftone dots, and paper grain remain visible in WishList as traces of contact with an inherited archive of desire.
Rather than treating images as evidence of a stable identity, Sailor approaches them as mutable surfaces through which a queer self is repeatedly assembled, concealed, projected, and displaced.
Across Eden, The Orchid Man, and WishList, images are cropped, borrowed, filtered, enlarged, re-photographed, and rearranged into unstable constellations. "Profile Not Found" opens and closes The Orchid Man, while flash glare, halftone dots, and paper grain remain visible in WishList as traces of contact with an inherited archive of desire.
Rather than treating images as evidence of a stable identity, Sailor approaches them as mutable surfaces through which a queer self is repeatedly assembled, concealed, projected, and displaced.
→ 中文
Sailor（《水手》）是一部三部曲出版物，通过来自网络的图像、二手影像资料、自拍、
私人手机档案、动漫、商业图像，以及重新翻拍的男同志杂志，探讨酷儿自我的建构。
在《伊甸园》（Eden）、《兰花男人》（The Orchid Man）与《愿望清单》 （WishList）三部分中，图像被裁剪、借用、滤镜处理、放大、重新翻拍，并重新排列成 不稳定的星座式结构。"Profile Not Found"（"未找到该资料"）作为开场与结尾贯穿《兰花男人》， 而闪光灯反光、网点纹理与纸张颗粒感则在《愿望清单》中清晰可见，成为与一份被继承下来的 欲望档案接触过的痕迹。
Sailor 并不将图像视为某种稳定身份的证据，而是将其视为一种可变的表面， 酷儿自我正是通过这些表面被不断组装、遮蔽、投射与置换。
在《伊甸园》（Eden）、《兰花男人》（The Orchid Man）与《愿望清单》 （WishList）三部分中，图像被裁剪、借用、滤镜处理、放大、重新翻拍，并重新排列成 不稳定的星座式结构。"Profile Not Found"（"未找到该资料"）作为开场与结尾贯穿《兰花男人》， 而闪光灯反光、网点纹理与纸张颗粒感则在《愿望清单》中清晰可见，成为与一份被继承下来的 欲望档案接触过的痕迹。
Sailor 并不将图像视为某种稳定身份的证据，而是将其视为一种可变的表面， 酷儿自我正是通过这些表面被不断组装、遮蔽、投射与置换。