Dekai takes sincerity as his first principle.
He see himself as an observer, a involver and a communicator who is passionate about engaging in social and cultural transformation through design action.
Based in Shanghai and Hangzhou.
Where am I?
- I, suspended, am neither here nor there.
Whose dream am I building?
- Dreams, only the unattainable ones are called dreams. Not mine anyway, after all, I haven't dreamed for a long time.
In the Green Fantasy project, an on-site interactive experience is created for second-generation migrant workers working in the construction industry in China. On the construction site, a green screen interactive installation made of debris netting, scaffolding structures and other site materials weaves an fantasy of success and reunion for them, exploring the plight of Career, Identity and family faced by the second generation of migrant construction workers and what do those mean to them.
In the Green fantasy project, an on-site interactive experience is created for second-generation migrant workers working in the building industry in China.
On the construction site, a green screen interactive installation made of debris netting, scaffolding structures and other site materials weaves an fantasy of success and reunion for them, exploring the plight of Career, Identity and family faced by the second generation of migrant construction workers and what do those mean to them.
"生产，再生产" means "production, reproduction" in Chinese.
"生产"also refers to the physical work that takes place in factories and workshops. It is this constant repetition of labour that maintains the vitality of productivity.
I explored the hereditary and endless labour and exploitation of the underclass in the context of contemporary capitalism from the perspective of the first and second generations of Chinese migrant workers who move from countryside to the city.
The first generation of migrant workers enter the city to do manual labour for a pittance, which does not result in better conditions for their children, and a large proportion of their offspring continue to do similar work when they move from the countryside to the city just after reaching adulthood. Some lucky second generations, who work in office buildings instead of construction sites and factories, are still exploited more harshly than others because of the unequal distribution of social and educational resources.
Another interesting conclusion is that, in addition to the proletariat, some of the broadly defined small or middle classes, face the same plight of endless exploitation.
It is a fictional discursive social protest, using the sinking of the island nation of Ersilia and the hypothetical history of its inhabitants' radical confrontation with rising sea levels as the thread of the exhibition, producing cultural artefacts such as official documents, sand transport tools and stone sculptures.
