He An doesn't believe that artist exists as a unique entity, rather a nomad in contemporary life and culture. What’s between ‘high’ art and popular culture is central to his artistic concerns and life. For him, urban harmony consists of a heady cocktail of the high and low, with the degenerate every bit as important as the refined.
From a building top, HE An dropped a signage light box with the name of his favorite Japanese porn star: Miho Yoshioka (吉冈美穗), smashing it to pieces. In the stand, a re'creation with exact precision, the!scene of!the incident, including the shattered box, its broken pieces covering the floor, and the mangled actress’s name still lit and shimmering. Also exhibited is a time compressed photograph in light box recorded the light streaks made in mid air as the signage was thrown down.
This work is titled after the films of director Vilgot Sjöman, notorious for his 1971 Obscenity Code lawsuit. Like the reference in the title, this work, for HE An, is an attachment that is lustful, and private, but unapologetically, made public. Such expressiveness, it is where porn and poetry go hand in hand.