the process of visitors’ movement in indirect ways. Also,each motion of bodily movement is included in the partial space where the balloon is floating in. In comparison, the size (width, length, depth) of the space in my work is based on the range of movement of my own arm or palm. In other words, the dimensions in my works is formed by the physical traits of my own body instead of others. As can be seen, the base of my painting, such as canvas or paper, is set as an opening box or ‘ㄩ’ in the process of applying the paint.
However, when it is displayed, it will be unfolded as a form of cross or ‘___’. In fact, it is similar to Enrico Job’s Bodymap(fig14), which is made on three dimensional surface but displayed in two dimensional ways. Firstly, the surface of the artists’ own body was subdivided in squares of 4.50cm for the body and 2.50cm for the head. Subsequently, the black pencilled squares were photographed by the order of numbers and printed in twice of their actual size. Next, the photos of original body are recomposed on wooden panels. It appears as a wall paper or a flat animal carpet.
The intention of Bodymap, which resembles any other map, is the reduction to a single dimension of a living thing, and therefore it works against the double time-space dimension (Vergine, 2000). Similar to Job, the intention of my works also comes from double time-space dimension to single dimension. It means that a viewer can simultaneously see the different sides of our works from same position. However, the essence of time and space in my work indicates the process of body movement instead of the details of body itself. Put simply, the unfolded canvas could be considered as a visualized documentary, a map or guidebook of my physical characters and natural capability of my bodily movement.