The title of this work, “to console the unconsoled”, is derived from the work of Kazuo Ishiguro, a Japanese-born British novelist known for his patchwork process of reliving and recreating memory.

Memory is a fragmented and uncertain thing to me.
When I think back to my hometown, it feels like a phantom, uncapturable. The city is repeatedly collapsing and rebuilding, and the accumulated time and memories are drifting like ghosts. Subjects are just trapped in the photographs, not returning to the past, not belonging to the future, but depicting illusory landscapes.

On the technical side, I used a classical photographic printmaking process called bromoil printing.
After bleaching the darkroom prints, the images disappeared once, forming hard and soft “matrix” of gelatin according to the brightness of the image.
Due to the repulsive nature of water and oil, the hardened part of the gelatin will absorb the ink, while the watery part of the gelatin will repel it.

The silver particles were then converted into an ink matrix.

For me, just like the expression of memory through photography, authenticity is not important, but it can be the material of memory.

In the process of making the prints, I have not been stuck to the original classical technique, but have used various methods, such as using both brush and fingertip, experimenting with the automatic correction function of the scanner and so on, as to leave some artificial traces.

As a way of exhibition, I printed them on a transparent fabric called georgette.