Nostalgia From Nowhereland

The slow door of time, the broken paintbrush, with extreme sadness, dipping the brush to write or paint, only wishing to draw all the mountains and seas to you.

The mountains and the sea, as analysed in the meaning of the words, gaze at the vast and mysterious distance at one end, and pull out the emotions of longing and yearning at the other. Li Shun's mountains and the sea are mountains at this time and the sea at the other time, and between the light and the ink following the line, it transforms into the mirage of the sea market of Mount Li. Beyond the nouns, the mountains and the sea hide the movement of overturning, as if a kind of kinetic energy lying dormant beneath the form, accompanied by the voyage of light and pen, like a burst of poetry echoing on the road.The "Five Miscellaneous Chops", also known as "Five Miscellaneous Groups", is the name of the ancient music genre, with a rhythm of three words and six lines. An example of the lyrics is:" The flowers and grasses on the hills are colourful; the cars and horses on the road come and go; old age is a matter of necessity." The book Five Miscellaneous Chopsticks is a famous essay journal created by Ming Dynasty literary scholar Xie Zhaozhe. The content is complicated, including reading and analyses of things, and records of political and current affairs and customs, involving many levels of the society at that time. It covers the magic and reality between heaven and earth, and the strange and bizarre people and events are listed in it.

Nostalgia From Nowhereland is like a catalogue of personal journals, marking the multi-dimensional path of Li Shun's works, organising and briefly describing the artist's logic of work and method of production. Light is the closest entry point to understanding Li Shun's logic of translation from the visual, conceptual, and "duplicate" languages. Photography is the working logic of how to understand and use light, and by frantically taking in the traces of light left behind in reality, Li Shun shapes another kind of otherwise invisible landscape, such as the image and body shape shown by the wind running in a slow exposure without the help of external substances.Running Light is the first part of Nostalgia From Nowhereland, as shown in the work We survive on nothing but a fading reality. The artist uses the car as a recording medium, with two 120 cameras fixed on the front and rear of the roof, collecting the "threads" of light through slow exposures of the real existence of the light, while at the same time naturally withdrawing from the reality of the environment and its correlation with the light. The residual shadow of time is like an ink blot, an ethereal feeling, like a mirror reflecting time, from which we can enter the inner world of the artist's Capture the Light and Shadow.