C-Type Photography. Agra, India.
In the Ming Dynasty in China, the heritage of Xingle Tu（行樂圖）is a political means to showcase the stability and prosperity of the royal family. Such a notion is eerily resonated with Marxist theories, in which ‘leisure’ is also a highly-loaded strategy that implies a perpetuation of the labour’s productivity through strategically assigned hegemonic activities as a pseudo and temporary outlet of emotions and a distraction of critical engagement in politics. And how about Guy Debord, who observed a continuum of commoners being involuntarily involved in an incessant production of ‘spectacles’ driven by the prevalence of media?
This ongoing series of photography intends to probe the site specificity of each shot as a ‘playground’ and perhaps reassess the notion of ‘game’ with subversive theories. The imagery of the work potentially situates at the slippery proposition of photography between ideological instrument and truthful documentary. Meanwhile, the artist would like to explore the performativity of a photograph in the means of capturing human flow.