The so-called street political protests, demonstrations and assemblies can be found in various public squares. Such phenomenon has a long history and is stimulated and distributed by modern Internet and exerts on social internet a range of virtual images which are worried, detailed, live, violent and with unknown prospect. It hardly makes any difference for the eyewitnesses, the experienced, the present or non-present with the introduction of cameras and news media. With the internet, street politics is available in every computer and immersed in the mind of every individual in front of the PC.

Media offers a more penetrating picture, and has seemingly more vitality than the real and physical world from today’s perspective. At one time, portraits could live longer than the human being and photographs were more convincing than historical records. Google today opens a door towards a world deeper and further in both space-time and dimensions. The world we see is fragmented, but with the cameras and videos, the fragmented pieces of the world politics can be put together via the internet to form a comprehensive picture, such as the immense commentaries live broadcast on Facebook and Youtube. We live in a world featuring “ open a door and close another door”①by media and reality, and media represents reality. The transparent street politics strikes us with its visual strength, vividness and dramatic content and links everyone’s concealed political standpoint which can or cannot be voiced. Imperial politics is implicit and congress politics semi-transparent and only street politics is real and in its original appearance.

With the belief of ancient Greek aesthetics, I myself love the things in their original forms, which explains my doing of “Ink Media”.

For two years, I plucked out and then created photographs of protests in different parts of the world from the internet. I did my work in my peaceful studio and out there was the vigorous world. I painted those images with ink on rice paper, reasonably faithfully but with the stylistic logic that the camera and PC offer and such works present another world in the view of the internet alongside the world in daily life. I, however, am still an insignificant artist.

那些被稱為街頭政治的抗議、遊行和集會，圍繞著各種城市中心廣場，這種傳統由來已久又藉助今天的互聯網而越發快速發展和傳播，在各種社交網絡中激活出一個個虛擬的廣場：令人揪心的、鉅細無遺的、追踪直播的、暴力血腥和前景未卜的場面。目擊者和親歷者、在場和不在場的區別因每個人都代入由無數照相機打開的多視角眼界和隨機切換的個人新聞平台中變的模糊也不重要，街頭政治在網絡媒體的承載下滲進每個計算機和坐在它前面的使用者大腦。

媒體是一種更加徹底的景觀，並且在今天看來，它似乎比真實的、物質的世界更俱生命力。曾經，畫像比人活得更久，攝影比史書更有說服力，今天的Google之門打開著一個通向在時空維度更深更遠的世界。視網膜感受的世界當然是不夠的，玻璃鏡片和數碼技術所攝捕到的社會微觀碎片正在通過互聯網拼成一個全球政治的宏觀全景，Facebook、Youtube直播著海量的人人都是時事評論員的報導。

生活在這個由媒體與現實的“打開這扇門的同時又關閉另外一扇門”①之間的我們， 媒體也是現實，而最牽動我們的又是那些透明的街頭政治，它的視覺強度，它的動感和情節性，它與每個人隱藏在心中的能說和不能說的政治立場相關聯。宮廷政治是隱蔽的，議會政治是半透明的，而街頭政治才是完全的赤裸。

有著古希臘審美觀的我，喜歡赤裸的東西。這就是我為什麼要做“墨水媒體”的原因。

歷時兩年，在社交媒體中收集與創作同時發生的全球運動圖片，我在平靜的畫室，外面是轟轟烈烈的世界。延用我這種圖像和宣紙的敘事、相機和電腦的邏輯，這個作品是在與之平行的日常生活中通過互聯網所看到的另一個世界。而我，依然是一個渺小的藝術家。