Once, I happened to meet Chen Zhe, an artist at work, at the place where she was printing. She was comparing the test samples of her lightbox artwork and adjusting the machine parameters so that the colors would be output correctly. I was curious what criteria she used to find the right colors. "Impressed colors," she says.
"COLORS IN MIND" very accurately sums up the situation, that abstract part of our brain that is at work during the production of an image.
At the time, I had already completed some of my photography with long exposures in front of a computer screen, but I hadn't yet found a satisfactory rendering technique. I couldn't solve the problem of impressionistic colors, but the concept of "COLORS IN MIND" entered my brain. One day I opened a Photoshop project file that I had closed in 2013, and I went back to the point where I had closed the project file, and I was adjusting the hue, saturation, and lightness of the background of the image, and in 2024 I started adjusting the color of the sky in the background, and every now and then I would find a moment, a moment in time, that I remembered, and a random combination of these three parameters. This was the process of creating "COLORS IN MIND - Rainy Day", the color of the sky in my physical world that day.
I have been to some skies and mountains in the physical world, especially in Zhejiang Province, which I am familiar with, where you will often see cloudy landscapes. I saw prototypes of mountains in impressionistic Chinese paintings. I opened Photoshop to build the random conditions for creating these impressionistic landscapes, which are the landscapes presented on the 3rd floor of the Nan Shan Society. The outlined lines of the mouse are hidden in the translucent gray and white grid of Photoshop, looming in the pro-visualization, tending to be generated by natural flow rather than frozen. Our consciousness shapes what we see, as nature does.
