展览现场
Exhibition View
Collections
Blind Box
玻璃钢，锻造抛光 Forging&Polishing, Steel glass
150 * 150 * 4 cm
2022
Ear drops
树脂翻模，内置音频蓝牙 Resin Rolling Over, Audio Bluetooth Built-in
100 * 40.5 * 44 cm
2022
Q: 你似乎说过“永远不要让作品是它看起来的那样”，怎么理解这句话？
A: 这与当代，尤其是观念艺术品所具有的开放性与交互性有较为紧密的联系。虽然艺术家总是会以一种特定的意图去制作这些作品，但真正影响对其解读的，是观者的性格，兴趣，以及经验。因此，对一件作品的解码往往是因人而异，层次丰富的，就像一部分人会站在普世与社会化的角度去欣赏，而另一些人则会专注于他们独特的个人兴趣。
Q: You have mentioned that "never let a work be what it seems to be" how do you perceive this idea?
A: This relates to the idea of contemporary and especially conceptual artworks being not of closed meaning but open, intertextual vehicles. While the artist creates them with a specific intention, it is up to the audience to decode according to their own personalities and experiences that influence their reading. As such a piece of work can mean many and different things to different people, talking to them in multiple layers, some common and social some unique and personal.
Previous Works
Holly shit!
马桶、鸡蛋 toilet, eggs
尺寸可变 Dimensions Variable
2008
Q: 放大从而使物体脱离现实尺度，具有一种纪念碑式的意味，你为何使用这种方式？
A: 虽然乍眼一看它们似乎脱离了现实，但实际这种放大与加重是对于他们现实意义的真正暗喻，比如那台放大了的手机，它的体积与沉重实际隐形地指向手机在生活与文化语境中的巨大影响与重要性。
Q: The way the objects are magnified and thus removed from the scale of reality has a monumental meaning. Why did you use this approach in these two works?
A: Whereas at first glance they seem removed from reality their enlarged size and weight aims at actually commenting on their very reality by referring to the large importance and influence that the mobile phone as an object and a cultural item has in our lives.
Q: 你认为作品在观念上与观者的联系比物理上的交互性更重要吗？
A: 这取决于艺术作品的类型，但在我的作品中，作品的物理性仅仅是观者对于观念的理解和互动的载体，这才是我想让他们得到的。
Q: Do you think the conceptual connection with the viewer is more important than the physical interactions?
A: Depends on the type of artwork, but in the case of my work the physicality of the pieces are a mere vehicle towards the conceptual understanding and interaction which is the protagonist of the experience.
No More Lobsters
电话、手枪 telephone，gun
尺寸可变 Dimensions Variable
2017
Q: 数字设备在今日已经作为一种身体的延伸而存在，你如何看待它们和生活的关系？
A: 这是决定人类物种之进化，但同时需要被小心审视的关系。我们需要在现实/我们自身/与虚拟之间保持精密的平衡；就像我们在历史进程中表现出的倾向一般：我们总对新鲜诱人的事物上瘾，将其神化并对其崇拜。
Q: How do you see the relationship between digital facilities and life in a world where devices exist as an extension of the body?
A: It is a relationship that defines our evolution as human species but at the same time one that needs to be carefully critisized in terms of the need to keep a balance between the real and human, and the virtual; you see we have historically exhibited a tendency of overt addiction and extreme apotheosis on anything that is new and alluring.
Unobtainable
拼图、笼子 jigsaw pieces, cages
尺寸可变 Dimensions Variable
2012
Q: 你如何看待当下的艺术现实？这和你刚开始从事创作的时期有什么变化？
A: 在我开始搞艺术的时候，还没有人把自拍和他们的艺术品放在个人资料照片里咧 (笑)。
一方面，站在艺术家和观众的角度来说，艺术意识的逐步普及给了艺术发展一个正向的，蓬勃发展的文化环境；另一方面，从商业的角度来说，这种趋势同样给艺术家们带来了压力，使他们的表达变得更商业化，而不是纯粹的从艺术动机出发的了。当然，这种情况不仅在中国发生，也同时是全球性的现象。此外，由于当代艺术反映了当代人的状况，在复杂和深度以及自命不凡和肤浅之间存在着一种张力，这种张力决定了整个动态。
Q: How do you feel about the current reality of art, especially in China, and how does the industry think? How has this changed from the time when you first started working in the art field?
A: Well there were no selfies and using artworks to decorate our profile photos with them when I first started doing art. (lol)
The proliferation of art in terms of more artists producing and larger audience viewing has created a positive condition of a booming culture around it; on the other hand the business side of this culture puts overt pressure on artistic expression steering it towards more commercial instead of purely artistic motivations and trajectories. This is the case in China but globally also. Furthermore, as contemporary art reflects the contemporary human condition there is a tension between sophistication and depth, and pretentiousness and superficiality that defines this whole dynamic.
By the Book Series: Mind Your Head
书籍、头盔 book,helmet
尺寸可变 Dimensions Variable
2009
Q: 谈谈现成品在你的创作中扮演的角色。
A: 现成品往往是我们在生活中就很熟悉的物品，因此使用它们可以帮助我在艺术品与观众之间创造更紧密的联系，从而更好地进行观念沟通。同时，这些物是我们世界的物质性本质的象征，通过使用它们作为其所代表的观念的纯粹载体，我想要降低它们的重要性，创造超越其形式的实质。
Q: Tell us about the role of ready-made objects in your practice.
A: Objects are very intimate entities in our lives and as such using them creates a closer connection between artwork and audience thus amplifying the ease of communicating meaning. At the same time objects stand as a symbol of the materialistic nature of our world and by using them as mere vehicles of the ideas they stand for I aim to downgrade their importance making a statement towards favouring meaningful and substance over form and appearance.
Inverted Toilet Roll
卫生纸卷 toilet roll
尺寸可变 Dimensions Variable
2011
Q: 你的作品几乎是以现成品与符号的拼凑转移，你认为这种手段会过时吗？
A: 恰恰相反。
首先，符号学解码早已是我们所有人生活中不可或缺的一部分，没有符号的话，我们就不能分辨我们到底进了男厕所还是女厕所……这将导致非常混乱但可能也是非常有趣的情况！（笑）。
更严肃地说，这是一个重叠的空泛符号与自我参照符号（无论是以新闻、娱乐、社交媒体或数字产品的形式）不断增长的时代。这些符号创造了一个压倒性的视觉盛宴。故此，我们对于它们的关键解码和意义识别比以往任何时候都更加重要。
Q: Almost all of your works are presented as a pastiche of ready-made products on a semiotic level. Do you think this tactic will become obsolete?
A: Quite the opposite.
Firstly, semiotic decoding is something inherent and essential within all of us; otherwise we wouldnʼt know whether to enter a toilet with a male or female symbol…and that would have been creating very confusing although maybe also interesting situations! (lol)
On a more serious note, living in an age of perpetual increase of overlapping empty signifiers and self referencing symbols (whether in the form of news, entertainment, social media or digital productions) that create an overwhelming visual feast, the need for critical decoding and meaning identification is more important than ever.
Q: 推荐一种酒(龙舌兰除外)。
A: Mezcal.
Q: Recommend a drink (except Tequila).
A: Mezcal
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