玻璃厂的江边因为周遭发展的停滞，无人治理。在江边穿行，我会感叹野草的生 命力，也会因为土地里无法代谢的垃圾产生生理性恶心。在这两种状态的拉扯中恍然觉得，这就是我在试图描绘的想象中的未来图景——人造物已然进入废墟态，但生命并没有因为人类的退场而停止。
         汽车是我往返北碚的主要工具，如果没有汽车，根本不可能短短一天在这两点往返。从市区驾驶到玻璃厂的高速路上，总是会看到一些车祸和因为汽车而死去的动物。我看着那个已经被碾压成平面的生物意识到，我在驾驶的，其实是一头工业怪兽。接着我去走访了废弃汽车处理中心和修理厂，这些不再被人使用的配件堆积在一 起的时候透着一种令人不安的诡异。我把它们收集了起来，但看着这堆材料，我的第一反应是希望可以先用一些什么材料把它们包裹起来——来逃避我的不安。但仅仅掩盖和逃避是不够的。我还希望能有更多的东西从这里生长出来。于是我顺从了最本能的塑造冲动——像孩童捏橡皮泥一样，在这些废料上捏出了稚拙的花朵与星星。
        在过去的大半年里，我还在重复绘画一个瀑布，它来自一张老旧的战争传单。我抹去传单插画里的人类踪迹与宏大叙事，只留下瀑布本身。试图去呈现一个平静又徒劳的画面：当历史的喧嚣与人类的狂妄随水流退场，剩下的又是自然本身。


The riverbanks near the glass factory are pretty much abandoned becausedevelopment surround has stopped. Walking along the shore, I was struck byhow wild and strong the grass is, but at the same time, I felt physically sickseeing all the plastic and trash stuck in the dirt. Caught between these twofeelings, I realized: this is the future I’m trying to show. A place where man-builtthings have turned into ruins, but life kept going long after humanity left thestage

The car is my primary tool for commuting to Beibei; without it, the round tripwould be impossible in a single day. On the highway from the city to the glassfactory, I frequently encounter accidents and animals killed by vehicles.Looking at those creatures crushed into almost flat silhouettes, I realized I wasdriving an industrial monster. Later, I visited scrapped car processing centersand repair shops; the sight of these discarded parts piled together feels souncanny. I collected some of them, but my first reaction was to wrap them insomething—just to hide from the anxiety they gave me.

But just hiding them wasn't enough. I yearned for something more to grow fromthe mess. Thus, I followed my most primal sculpting impulse—like a kid playingwith playdough—and started molding simple flowers and stars on the scrapmetal.

For the past almost a year, I have also been repeatedly painting a waterfallderived from an old wartime flyer. I erased the human traces and grandnarratives from the illustration, leaving only the waterfall itself. I sought topresent a scene that is both calm and futile: where the noise of history andhuman arrogance washes away, and nature simply persists.

        这件参与式作品邀请十位陌生人分别进入厨房听制作一顿家常菜的声音并一起共进晚餐。观众将使用录音机和耳机去自由捕捉在厨房里的声音。设备放大了厨房劳动的细微声响，让声音显得重复、缓慢、尖锐。
        This participatory work invites ten strangers into a kitchen to listen to the sounds of a home-cooked meal being prepared, followed by a shared dinner. Participants use recorders and headphones to freely capture the auditory environment. The equipment amplifies the subtle nuances of kitchen labor, rendering the sounds repetitive, slow, and sharp

         本作始于对一对爱人十指紧扣的双手进行3D扫描并打印下来。这一行为呼应了艺术史上无数描绘爱情的传统——试图通过物质形式将亲密关系存档。然而，万物终将走向腐朽与消逝。因此，最终的作品形态并未呈现为光洁的永恒，而是被处理成一堆焦黑的残骸。这是在注定崩塌的空间里，留下的一处证据。
         This work begins with the 3-D scanning and printing of a couple’s interlocked hands. This act echoes a long tradition in art history: the attempt to archive intimacy through physical form. However, all things eventually trend toward decay and disappearance. Consequently, the final state of the work is not one of polished permanence, but is instead presented as a heap of charred remains. It stands as a piece of evidence left behind within a space destined to collapse.

         《形》尝试通过不锈钢这种最工业化地材料去唤起生命的感受。这些形状都取材于树木的形态。不锈钢材料起初是一块完美的矩形板，制作的过程包括切割，塑形，捶打和焊接等。对我来说，这个过程本身唤起了人类最深刻的感受——痛苦与狂喜。
         Form attempts to evoke the sensations of life through stainless steel—a material inherently industrial. These shapes are derived from the organic silhouettes of trees. The process begins with a perfect rectangular sheet of stainless steel, which undergoes a series of transformations: cutting, shaping, hammering, and welding. To me, this process itself evokes the most profound of human emotions—pain and ecstasy.

         《形》尝试通过不锈钢这种最工业化地材料去唤起生命的感受。这些形状都取材于树木的形态。不锈钢材料起初是一块完美的矩形板，制作的过程包括切割，塑形，捶打和焊接等。对我来说，这个过程本身唤起了人类最深刻的感受——痛苦与狂喜。
         Form attempts to evoke the sensations of life through stainless steel—a material inherently industrial. These shapes are derived from the organic silhouettes of trees. The process begins with a perfect rectangular sheet of stainless steel, which undergoes a series of transformations: cutting, shaping, hammering, and welding. To me, this process itself evokes the most profound of human emotions—pain and ecstasy.

         作品的⽣产对我⽽⾔是⼀种伸出双⼿对抗客观世界的“⾏动”，⼀种对某种不可名妆的 情绪和感性的记录，并最终反映为可感的实体。在这次的展览⾥，创作素材⼤多取⾃我对 ⽇常⽣活，政治场景，和技术图像中制造物的观察。我像是⼀个收集者，将信息整合，再 制造。作品与作品之间形成链环，⼀个作品从另⼀个作品那⾥涉取意义，又将意义传递给 下⼀件作品。 
         关于《⽆⽣命的原因》的想法萌⽣于21年初，在bottom space的展出也并⾮终点。那 个时候很多⼈们都还处于居家隔离的状态，我们都蜷缩在⾃⼰的⼀隅，共同耽溺在图像的 世界⾥。《太阳印记》的制作也是从那个时间开始。空闲的时候，我会⽤蓝晒在客厅的窗 台上依靠着太阳的光线去制作⼀张从NASA下载的在太空中拍摄的太阳的图⽚。依靠着这 样传统的图像制作⽅式，太阳的光线从遥远的⿊暗⾥，以明灭不定的姿态在我的⽣活⾥留 下了⼀点点物理证据。⽽时间，紫外线强度，和颜料浓度的不同引向了这些证据最终充满 差异性的结果。
          《渐见万象》的创作素材同样也来⾃于NASA，作为普通⼈，我们能以这样“近距离” 的⽅式观看太阳是⼀种奇迹。我把⼤量的太阳图像收集到⼀起，并使⽤⽣成对抗⽹络去分 辨，计算，并⽣成新的太阳的图⽚。机器学习有能⼒去⽣成⾜够以假乱真的太阳，但是我 选择了让运算停留在趋于精确的半路——此时的太阳还在像素之中运动，被算法的真假分 辨器挑选。在观看视频的时候，你或许还可以听见我的呼吸声，和烧毁灌⽊的⽕声，它们 以声波的⽅式，抵达这个半开放式空间的每⼀个⾓落。
         《地⼼上的⼯艺》和《23.13°，113.27°》是另⼀种对太阳图像的想象和使⽤。太阳作为象征图像在政治图景的历史上不断演变，并始终代表着⾄⾼的权⼒。《亲，控制不了⼆ ⼗厘⽶》是更直接的权⼒与⾃然⽣命互渗的象征。狂蛮的树⽊被砍伐，换以需要固定器的 精细树苗；笔直的树根被⽣产被⽣产出来，运往各地作为装饰。
         《⽆⽣命的原因》同名于卡尔·⼽特利布·冯·温迪施于1783发表的关于⼟⽿其傀儡机器 ⼈骗局的书信集。他以亲历者的⾓度⼀步步揭⽰了傀儡机器⼈的技术幻象。骗局被揭⽰ 后，傀儡机器⼈被收藏于美国费城的中国美术馆。因为⼀场⼤⽕，最终只剩下⼀⽚灰烬。 Silas Weir MItchell写道“我们的朋友在离世前最后说的话，是不断重复地呢喃着, 西洋棋! 西洋棋!” ⽽西洋棋在法语中有另外⼀个意思——失败。 

For me, the making of works is an "action" of stretching out my hands against the world, a record of some indescribable emotion and sensibility, and finally reflected as a tangible entity. In this exhibition, the creative materials are mostly taken from my observations of daily life, political scenes, and artifacts in technical images. I am like a collector, integrating and remanufacturing information. Links are formed between works, one work draws meaning from another work, and transmits meaning to the next work.

The idea from Inanimate Reason was born in early 2021, and its present at bottom space is not the end but the process. At that time, many people were still in a state of isolation at home, and we all curled up in our own corner, indulging in the world of images. The production of Of the Presence of the Sun also started from that time. In my spare time, I will use cyanotypes on the windowsill of the living room to rely on the sun's rays to make a picture of the sun taken in space downloaded from NASA. Relying on such a traditional way of making images, the light of the sun leaves a little bit of tangible evidence in my life from the distant darkness. Variations in time, UV intensity, and pigment concentration lead to the ultimately variable results.

The original material of Into the Gorgeous Crush Of Everything also comes from NASA. It is a miracle that we can look at the sun in such a close-up way. I collected a large number of sun images and fed them into a generative adversarial network which is a way for artificial intelligence to generate image. Even though machine learning has the ability to generate image of sun that looks real enough to confuse people, I chose to capture the in-progress moment. While watching the video, you may still be able to hear the sound of my breathing, and the fire of burning the bushes. They reach every corner of this semi-open space in the form of sound waves.

Black Sun Under the Blue Sky and 23.13°，113.27° are another imagination and use of the image of the sun. The sun as a symbolic image has evolved throughout the history of the political landscape and has always represented supreme power. Dear, We Cannot Control It to Exact 20 Centimeters is a representation of power and natural life. Wild trees are felled and replaced with delicate saplings that require fixers; straight roots are produced and shipped everywhere as decorations.

Inanimate Reason is named after Carl Gottlieb von Windisch's 1783 collection of letters about the trick of Mechanical Turk-a deceptive automaton chess player. He revealed the technical illusion of the puppet robot step by step from the perspective of a witness. After the deception was revealed, the Mechanical Turk was collected in the Chinese Art Museum in Philadelphia. Because of a fire, only a piece of ashes remained in the end. Silas Weir Mitchell wrote that "the last words of our departed friend, the sternly whispered, oft-repeated syllables, chess! chess!" One thing to point out is chess has another meaning in French - failure.