DONGLAI
MENG

From 2016 I started to collect my dreams, I type them in the memo immediately when I wake up. I dream very often, almost every night, but unfortunately not every dream is recordable. Until now I have recorded around 100 dreams. The more dreams I have, the more confusions appear. So what is the boundary between reality and dreams? I ask myself. What do I see when I close my eyes? And what do I really want to see?

“White book” is my writing work, which contains dozens of stories. I would like to preserve the poetic and mysterious aspects of my inner world, because dream itself is very personal, others can't directly see the same scene in my dream. So I decided to keep this euphemistic feature of dreams in artwork, that is, to remove visual elements, only to use pure word as a tool to show my spiritual world.

In the “White Book”, I do not present recorded dreams alone, but combine them with other experiences in the real or virtual world. While retaining the poetic quality of trance, there is also a foggy boundary between me and the audience, which is a kind of self-protection for me. Stream of consciousness is my common writing skill. I use the first person perspective and add a lot of descriptions of mental activities to help readers to create a sense of empathy, so as to better experience the confusion caused by the combination of reality and fiction. In these reconstructed worlds, hidden expressions, vague emotions, and suppressed desires are captured and amplified. I catch those wandering moments beyond real life and try to use words to reproduce the complex psychological feelings of human beings. Narrative and plot are not the focus of the “white book.” In my opinion, how to create an illusion in a limited space is the most interesting part of writing.

*Publication designd by JIYOUNG CHOI




从2016年开始，我开始收集梦，当我醒来时，我会立即在备忘录中输入它们。我几乎每天晚上经常做梦，但不幸的是并不是每个梦都有可记录性。到现在为止，我已经记录了大约100个梦。我拥有的梦越多，出现的混乱就越多。那么现实与梦想之间的界限是什么？我问我自己。当我闭上眼睛时，我能看到什么？我真的想看到什么？

“白书”是我的文字作品，其中包含数十个故事。我想保留我内心世界的诗意和神秘方面，因为梦想本身是非常个人化的，其他人不能直接看到我梦中的同一场景。因此，我决定在艺术作品中保留这种梦想的委婉特征，即去除视觉元素，只使用纯粹的词作为展示我的精神世界的工具。

在“白书”中，我不单独介绍录制的梦想，而是将它们与真实世界或虚拟世界中的其他经验相结合。在保持恍惚的诗意质量的同时，我和观众之间也有一个模糊的界限，这对我来说是一种自我保护。意识流是我常用的写作技巧。我使用第一人称视角并添加了大量的心理活动描述，以帮助读者创造一种同理心，从而更好地体验现实与虚构相结合所造成的混乱。在这些重建的世界中，隐藏的表达，模糊的情感和被压抑的欲望被捕获和放大。我抓住那些超越现实生活的游荡时刻，并尝试用文字来重现人类复杂的心理感受。叙事和情节不是“白书”的焦点。在我看来，如何在有限的空间中创造一种幻觉是写作中最有趣的部分。


*书籍设计：崔智英

In the publication of White Book, there are also including some of my dreams,  graphic designer Jiyoung Choi presents them in a very dreamlike way.

在白书的出版物中，还包含了一些我的梦，设计师崔智英以一种非常梦幻的方式呈现它们。