RudeFish
鲁 德 菲 西
Process
& Installation Structure
Al-generated video based on personal archives, 2025
Recorded by Wei Yang
Image Construction:
Fragments, Faces, and Failing Memory
The imagery in Who’s There? doesn’t come from a single source—it’s a patchwork of fragments: childhood family photos, eerie shots from cult horror films, and spatial memories whose reality I can’t quite verify. I fed these materials, along with descriptions of dreams and atmospheric references, into AI models. The results were often “wrong,” but sometimes those very errors brought me closer to unspeakable feelings. A blurred face, a distorted bedroom, a creature between infant and animal—they don’t represent memory, they reconstruct the feeling of not being able to remember.
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Who’s There? ultimately took the form of an installation combined with video. The footage was projected inside a low, coffin-shaped structure. In order to see the imagery—projected close to the floor—viewers had to crouch down. The video itself was about one minute long, composed of AI-generated visuals, fragments of childhood memories, and lo-fi footage. The images moved quickly, without narrative, aiming only to create atmosphere.
I didn’t intentionally try to make viewing difficult—but I’ve always been interested in how physical posture affects perception. Not sitting, not standing from a distance, but crouching, getting close. Some viewers sat cross-legged, others lay down. I was curious whether this slight disruption in viewing—this small physical shift—might change their state. Would it feel like being a child again, lying on the floor watching TV? Or just like slipping briefly out of habitual, passive viewing?
The structure itself was made from black fabric, white lace, and metal stands—part ritual, part secret viewing setup. The goal wasn’t to explain, but to shape an atmosphere. I was simply testing: what happens when looking requires the body to participate? Could that change what the image is capable of communicating?
