According to Sigmund Freud, art-making is a way to express unconscious desires and instincts, I couldn’t agree with this more. Creating art is a journey to explore self-awareness, a conversation between me and myself, a mirror to reflect where I am in the world. “Identity” is deeply rooted in my unconscious whenever I evoke my artistic ideas.
No matter what format of art I am creating, whether it is 2D work or installation pieces, the discussion always starts with the unrecognizable relation between one individual and the environment. Strong emotions like self-contempt, low self-esteem and self-transcendence emerge from this intimate interaction. I express more elaborate and subjective dynamics in my animations, motion graphics and illustrations, which are more focused on an internal emotional examination of myself. For interactive installations, I expect audiences to engage both physically and emotionally. Immersive situations with inspiring visuals and sounds are offered in order to reach a close circle between the audience and me, the artist, and when the loop is formed that empathetic communication happens.
弗洛伊德认为艺术创作是一种表达潜意识欲望和本能的方式，我非常赞同这一点。创作艺术是一段探索自我意识的旅程，是我与自己之间的一场对话，是一面反映我在世界何处的镜子。每当我想起自己的艺术想法时，“身份”就深深扎根于我的潜意识中。
无论我创作的是哪种艺术形式，无论是2D作品还是装置作品，讨论总是从个人与环境之间不可识别的关系开始。这种亲密的互动会产生强烈的情绪，比如自我鄙视、低自尊和自我超越。在我的动画、动画和插画中，我表达的是更细致、更主观的动态，更注重对自己内心情感的审视。对于互动装置，我希望观众能在身体上和情感上参与其中。为了在观众和我(艺术家)之间形成一个紧密的循环，我们提供了带有鼓舞人心的视觉和声音的沉浸式情境，当这个循环形成时，移情交流就会发生。
MIRAGE
2020
Wood boards, LED lights, web camera, projector
木板，LED灯，网络摄像头，投影仪
My thesis project, MIRAGE, is an interactive art installation, which addresses and visualizes a virtual environment as an enlarged, fragmented refraction of physical life. It consists of projections on 3 walls and an interactive hopscotch court on the floor. Web cameras collect the participant’s appearance information--including facial features, hair, skin, and clothes. When the participant gets to the end of the hopscotch court, a virtual creature based on their collected data appears and eventually moves into the virtual background where all previous viewers’ Mirage avatars reside.
我的毕业项目MIRAGE是一个互动艺术装置，它将虚拟环境作为物质生活的放大、碎片化折射来处理和可视化。它由3面墙的投影和地板上的交互式跳房子庭院组成。网络摄像头收集参与者的外貌信息——包括面部特征、头发、皮肤和衣服。当参与者走到跳房子游戏场地的尽头时，一个基于他们收集的数据的虚拟生物出现了，并最终移动到所有之前观众的幻影化身所居住的虚拟背景中。
M.E.D.I.A
2020
Backlit film, white print, fishing string, Kinect, projector
背光胶片，白色打印，鱼线，Kinect，投影仪
Memory. Eventually. Dies. In. Archivism. is an interactive installation that seeks to reappear the situation when people are engaging a brand new media. As technology has developed, the relationship between human beings and the virtual environment has become closer.
Through asking how do we approach the virtual environment, either physically or psychologically, I discuss both the possibilities and the hidden dangers of new media, also, I emphasize the reason why it is crucial that we be aware of the emerging digital media and virtual environment.
Quotes from New Media Theorists are printed in white ink on backlit film panels, and the participants need to use their own projected silhouette to spot the sentences. However, the silhouette gets smaller when the viewer gets closer to the panels, and the direction of the silhouette is also opposite to the viewer's movement, which makes the texts hard to be identified. When people are interacting with their projected digital silhouette, they tend to be more childish, naive, and unaware of the underlying fact that their information is being captured, documented, and used.
Participants also tried to identify which shape belonged to them when multiple shapes got fused. Are these digitally generated shapes only just visual representations of the participants, or have they already become the participants' primal virtual identities?
Memory. Eventually. Dies. In. Archivism. 记忆. 最终. 毁. 于. 归档. 是一个互动装置，试图重现人们参与一个全新媒体的情况。
随着科技的发展，人与虚拟环境的连结越来越密切。通过问我们如何在身体上或心理上去接触虚拟环境，我讨论了新媒体的可能性和潜在的危险，也强调了为什么意识到我们与新兴的数字媒体和虚拟环境的关系是至关重要的。
新媒体理论家的名言用白墨水印在背光胶片面板上，参与者需要使用自己的投影剪影来识别句子。然而，当观看者靠近面板时，剪影变得更小，剪影的方向也与观看者的运动方向相反，这使得文本难以识别。当人们与投射的数字轮廓互动时，他们往往更幼稚、天真，并没有意识到他们的信息正在被捕捉、记录和使用这一潜在事实。
当多个形状融合在一起时，参与者还试图识别哪个形状属于他们。这些数字生成的图形仅仅代表了参与者的剪影，还是已经成为了参与者在这个项目中的最初虚拟身份?
Terra Firma
2019
Performance, Projector
表演艺术, 投影
Terra Firma is an exploration of life as a journey; a journey not conceived simply as displacement in space and time but, also as a symbolic sense of desire of knowledge and research of oneself
Concept and choreography by Grazia Capri
Interpreters: Grazia Capri, Amanda Bouza, Kaity Mayers, Irene Paci
Original Sound by Stefano Cavazzini
Live Music by Martin Nevin
Set design by Grazia Capri
Lights design by Mokshini Gobin
Animation/projection by Sherry Liu and Annie Xiang
Grazia Capri company Production Paris/New York 2019
Terra Firma是一场探索生命的旅程;这趟旅程不仅仅是时空上的置换，也是一种象征意义上的求知和自我研究的渴望
概念&编舞:Grazia Capri
翻译:Grazia Capri, Amanda Bouza, katie Mayers, Irene Paci
原创音乐:Stefano Cavazzini
现场音乐:Martin Nevin
布景设计由Grazia Capri设计
灯光设计:Mokshini Gobin
动画/投影:Sherry刘、Annie向
Grazia Capri公司制作2019年巴黎/纽约
EXIT:
2019
Acrylic, wood frame, web camera, translucent paper, projector
亚克力，木框架，网络摄像头，半透明纸，投影仪
In the project EXIT:, web camera was put in the framework that is similar to the Emergency Exit window on subway trains. With real-time delay effect that is programmed in MAX. Live footage with approximately 10 seconds delay was projected on the "window" -- just like the reflection on the mirror, to simulate the illusion of different passing speed of time.
在项目EXIT 中，我将网络摄像头放在类似于地铁列车紧急出口窗口的框架中。具有实时延迟效果，在MAX编程。延时约10秒的现场镜头投射在“窗口”上——就像镜子上的反射一样，模拟不同时间流逝速度的错觉。
Day 日子
2018
Fruits, vegetables, helmet, plastic bags, iron plate, projector
水果，蔬菜，头盔，塑料袋，铁板，投影仪
Project Day focus on discussing both the temporal and the spacial connection between nature resources and manmade artifacts.
项目日子 的重点是讨论自然资源和人工制品之间的时间和空间联系。
By utilizing MadMapper, I mapped out all the actual objects in daily life; combine with projection of casual street view footage, which is edited with VDMX and projected on the helmet and the steal surface, as well as the plastic materials around to indicates the constrained status of the man-nature relationship.
通过使用MadMapper，我绘制出了日常生活中所有的实际对象;结合休闲街景镜头的投影，用VDMX编辑，投射在头盔和钢板表面，以及周围的塑料材料上，显示出人与自然关系的约束状态。
Rail 轨迹
2019
Processing
Parts
2018
Ceramic