Weng jiayang
翁嘉阳














In the Anthropocene, an era etched by human activity into geological time, our practice aims to overturn traditional archaeological narratives of time and matter. We no longer trace back to the deeply buried past, but rather look upwards, examining the ever-changing present with a "surface excavation" approach. Here, the endless plastic remnants discarded by contemporary consumer society are seen as "future fossils" suspended in the torrent of time, about to solidify.

This research, transcending the rigorous frameworks of geology, sociology, and artistic practice, aims to deconstruct the absurd paradox of our era's material culture: those plastic ghosts endowed with fleeting value yet possessing an eternal form of existence. I place these collected plastic fragments in a ritualistic transformation—sculpting them using salt as a medium. Salt, as the crystalline memory of the source of life and the ancient ocean, is given a unique narrative role. It erodes, reshapes, and envelops these heterogeneous plastics, temporarily detaching them from their stubborn "object" form, making them a transitional existence.

Ultimately, these plastic sculptures, reshaped by the memory of salt, will return to their deepest origin—the sea. In the boundless, salty embrace, the salt sculptures are gently dissolved, exposing their temporary plastic forms once again to the erosive power of nature.


在人类世——一个由人类活动刻入地质时间的时代——我们的实践旨在颠覆传统的考古学中关于时间和物质的叙事。我们不再追溯深埋地下的过去，而是仰望星空，以“地表挖掘”的方式审视瞬息万变的当下。在这里，当代消费社会丢弃的无穷无尽的塑料残骸被视为悬浮于时间洪流中的“未来化石”，即将凝固。
这项研究超越了地质学、社会学和艺术实践的严谨框架，旨在解构我们这个时代物质文化中荒谬的悖论：那些塑料幽灵，既拥有转瞬即逝的价值，又拥有永恒的存在形式。我将这些收集来的塑料碎片置于一种仪式化的转化之中——以盐为媒介进行雕塑。盐，作为生命之源和远古海洋的结晶记忆，被赋予了独特的叙事角色。它侵蚀、重塑并包裹着这些成分各异的塑料，暂时使它们脱离顽固的“物体”形态，使它们处于一种过渡性的存在状态。
最终，这些被盐的记忆重塑的塑料雕塑将回归其最深的起源——大海。在无垠的咸涩怀抱中，盐雕塑被温柔地溶解，再次将它们短暂的塑料形态暴露于自然侵蚀的力量之下。


Salt Sculpture, video, Anthropocene, deep time, archaeology

Soluble Fossils
可溶性化石

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