---- “In the icon-laden group portrait that is society, the hollowness of women makes their relationship to society seem even more cramped. ‘Emptiness’ takes hugs and snuggles and turns them into coldness, pathology, confusion, falsehood and disorientation. We’re still obsessed with concealing dynamic hopes within static presentations, almost as if strong, wild aspirations are being dismembered bit by bit, like smoldering tobacco leaves…. I like this seemingly paradox predicament. That is to say, I lose myself in the predicament that I see and ponder.”
----- The body can be the subject of harm, or a self-contradiction, a subjugation or an exchange. The absence of the ‘body’ is a rebuttal to the idea of ‘sanctuary’. This ‘absence’ refuses ‘fullness’ and ‘completeness’ in the usual sense. ‘Absence’ does not obliterate the ‘marks of previous existence’. To the contrary…
I emphasize the reality of ‘previous existence’ in itself. So what is the relationship between ‘previous existence’ and loss? What meaning does ‘previous existence’ for the space in which it once existed? Who exists?”
----- The calm of soft ripples make us think of death, and nothing chills us like death. Imagined death makes us willing to take risks. It is at this time that love allows us to become saviors. Love can inject our lives with the blood of suspense. In an instant, it can activate our insanity and blindness, giving us a quick escape from fear, and leading us to believe that if we just come a little closer, we will find warmth.
These 300 wedding photos of people hugging an absent partner create a scene that is infinitely paradoxical and perplexing.
These “hollow” lovers seem even more striking against this romantic pink background.
What I want to emphasize are the “hollowness” and “speechlessness” of women, their suspicion and disassembly of closeness. It is not an answer, it is a question, my questioning of the realistic logic of restlessness, sense of loss, perplexity and crisis in close relationships.
Lin Jingjing, notes on I want to be with you forever
《我要永远和你在一起》创作手记
“女性在社会中被符号化的合影中，女性的空缺使女性与社会的关系显现更加局促。‘空缺’使拥抱和依偎导向冷漠、病态、紊乱、伪造、毫无归属。我仍然迷恋这种静态的呈现中藏着那动态的愿望，近乎神经质的强烈愿望被一点一点地瓦解，像默默燃烧的烟叶……我喜欢这种看似悖论的窘境,或者说，我为我看到并思考这种窘境而流连忘返。”
身体可以是伤害的对象，可以是自相矛盾的存在，可以是一种征服，可以是一种交换。‘身体’的缺席是对‘栖身之所’提出了异意。‘不在场’拒绝了通俗意义的‘圆满’和‘美满’，‘不在场’并不抹去‘存在过的痕迹’,而与之相反…… 我想强调“存在过”本身的真实。那么，存在过和缺失之间是一个什么关系？“存在”过对于曾经存在于的那个空间的意义是什么？存在的是谁？…….”
波澜不惊的平静很容易使我们联想到死亡，没有什么比死亡更令人浑身发凉了，想像死亡使我们愿意冒险，爱情在这时候最容易变成救世主，爱情可以给我们的生命注入悬念的血液，它可以瞬间激活我们新的疯狂和盲目，使我们从恐惧中迅速解脱出来，让我们相信如果靠得更近就会更温暖。
这300个拥抱着空缺的伴侣的婚纱照，制造的是一个充满悖论无限迷惑的场景。
在浪漫的粉色背景之下，“空缺”的爱人显得更加刺目。
我想强调的是女性的“空缺”和“失语”，对亲密的质疑和瓦解，它不是一个答案，而是提问，是我对亲密关系中的浮躁、失落、迷惘、危机的现实逻辑的提问和不安。
对，默默燃烧的烟叶，带着瞬间的激情，对它荒唐的结局不慌不忙地作着优美的陈述，它给我一种不可抗拒的魔力般的神奇气氛。