Known for his large-scale photographic weavings and videos, Dinh Q. Lê has developed an artistic practice that insists on a deeper engagement with the way global crisis is perceived. Not merely a photographic image, The Deep Blue Sea is rife with sculptural and conceptual potential. To create the cascading scroll installation, Lê has appropriated four images from the ongoing boat refugee crises in the Mediterranean Sea. By stretching a single image across a 150-foot expanse, the artist uses arresting scale to scrutinize the significance of still frames. He asks the viewers to experience the image as an abstract canvas by denying them an obvious narrative. Instead he encourages his audience to imagine narratives and recall memories. Overturning Cartier-Bresson’s notion of the ‘precise moment,’ Lê argues for a fluid view of history that is permanently etched in our historical memory. The work echoes Lê’s personal history; in 1978, he and his family escaped Vietnam by boat.
Dinh Q. Lê憑藉其大型編織照片及錄像作品而為人所熟悉，他堅持對全球危機的感知有更深入的觀察而成為了他經年累月的藝術實踐。《深藍的海》不只是一幀影像，更充分表現出攝影作品潛在的立體感和概念感。為了創作出長幅捲軸畫裝置，Lê從有關地中海難民偷渡潮中的照片中挑選了四張出來，每張印製成150吋長的捲軸畫，以懾人的巨型作品細膩地展現出影像定格的意義。Lê在作品中並沒有提供具體的敍述，用意是邀請觀眾把攝影作品視為抽象的畫作，鼓勵他們自行想像，又或是誘發他們回憶往事。Lê 顛覆了卡地亞．布列松 |(Cartier-Bresson）所指的「決定性一刻」，主張一種流動的歷史解讀：歷史片段雖永遠刻在我們的回憶中，其解讀卻是可變的。這一作品也跟Lê的個人故事有關，他與家人在1978年乘船逃離越南，成為當時難民潮的一份子。
