Body's Scripts
巴蒂的手稿
一位流浪艺人的日志、速写与素描
一场关于身份、幻象与游荡的灰色派对
A drifter artist’s logbook, sketches, and drawings—
A grey-hued party of identity, illusion, and wandering.
2025
《Body’scripts》是一组流浪马戏团的视觉档案，由艺术家于2025 年构想并绘制的 26 幅碳条作品构
成。每一幅图像都是一场幽灵般的演出——一张通往转瞬即逝表演的门票，其中的角色唯有在被命
名之后才得以显现。作品在梦与记忆之间游走，在身份与伪装、出现与消失之间反复穿梭。
“Body’ scripts” is a visual archive of a drifting circus troupe, composed of 26 charcoal drawings imagined
by the artist in 2025. Each piece is a phantom act, a ticket to a fleeting performance where the characters
only exist once named. The work navigates between dream and memory, identity and disguise, presence and
disappearance.
每一幅作品皆由手工铝板与拾得物件构成的画框装裱完成。
铝片上压印有符号、图腾与记忆之物，部分作品附带吊坠、链条、夹层与机关。
Each piece is framed with hand-embossed aluminum and found objects. Symbols, totems, and memory
marks are engraved into the surface. Some frames include pendants, chains, secret compartments,
and embedded elements.
票号 #013 ｜伊莎多拉
纸本炭条、铅笔, 21x29.7 cm
自制雕刻金属画框，结合饰品, 挂坠, 42*50cm
2025
纸本炭条、铅笔, 21x29.7 cm
自制雕刻金属画框，结合饰品, 挂坠, 42*50cm
2025
Ticket #013 ｜Isadora
Charcoal, pencil on paper, 21 x 29.7 cm
Handcrafted engraved metal frame with decorative pendants, 42 x 50 cm
2025
Charcoal, pencil on paper, 21 x 29.7 cm
Handcrafted engraved metal frame with decorative pendants, 42 x 50 cm
2025
票号 #019 ｜泰拉
纸本炭条、铅笔, 21x29.7 cm
自制雕刻金属画框，结合饰品, 挂坠, 42*50cm
2025
Ticket #019 ｜Théla
Charcoal, pencil on paper, 21 x 29.7 cm
Handcrafted engraved metal frame with decorativependants, 42 x 50 cm
2025
票号 #020 ｜西比尔
纸本炭条、铅笔, 21x29.7 cm
自制雕刻金属画框，结合饰品, 挂坠, 42*50cm
2025
纸本炭条、铅笔, 21x29.7 cm
自制雕刻金属画框，结合饰品, 挂坠, 42*50cm
2025
Ticket #020 ｜Sybil
Charcoal, pencil on paper, 21 x 29.7 cm
Handcrafted engraved metal frame with decorativependants, 42 x 50 cm
2025
Charcoal, pencil on paper, 21 x 29.7 cm
Handcrafted engraved metal frame with decorativependants, 42 x 50 cm
2025
巴蒂的梦中独白
后来我才记起，
我画下第一张马戏团手稿的时候，其实还在
梦里。
那梦很奇怪——
一切都没有名字。
也没有人。
也没有表演。
后来一个广播说：
“从现在开始，
你必须先命名，
万物才会出现。”
我给自己取名叫：巴蒂。
然后我睁开眼，看到他们陆续登场。
有人披着羽毛跳跃，有人戴着金属面具倒立。
他们踩着鼓点走过我眼前，
我来不及说话，只能画。
怕他们在我记住前，再次消失。
后来我才记起，
我画下第一张马戏团手稿的时候，其实还在
梦里。
那梦很奇怪——
一切都没有名字。
也没有人。
也没有表演。
后来一个广播说：
“从现在开始，
你必须先命名，
万物才会出现。”
我给自己取名叫：巴蒂。
然后我睁开眼，看到他们陆续登场。
有人披着羽毛跳跃，有人戴着金属面具倒立。
他们踩着鼓点走过我眼前，
我来不及说话，只能画。
怕他们在我记住前，再次消失。
Body’s Dream Monologue
Later, I remembered —
when I drew the first circus sketch,
I was still inside the dream.
It was a strange dream —
nothing had a name.
There were no people.
No performances.
Then a voice on the radio said:
“From now on,
you must name first,
only then will things appear.”
So I gave myself a name: Batti.
Then I opened my eyes, and saw them arrive one by one.
Some leapt with feathers, some stood on their heads with metal masks.
They passed before me to the rhythm of drums.
I had no time to speak — only to draw.
Fearing they might vanish again
before I could remember them.
Later, I remembered —
when I drew the first circus sketch,
I was still inside the dream.
It was a strange dream —
nothing had a name.
There were no people.
No performances.
Then a voice on the radio said:
“From now on,
you must name first,
only then will things appear.”
So I gave myself a name: Batti.
Then I opened my eyes, and saw them arrive one by one.
Some leapt with feathers, some stood on their heads with metal masks.
They passed before me to the rhythm of drums.
I had no time to speak — only to draw.
Fearing they might vanish again
before I could remember them.
钻石英亩
Acres of Diamonds
2021-2023
《Acres of Diamonds》是毛矛予于2021-2023年在伦敦及其周边地区开展的一项生活实验型艺术项目。这项实验从“家”
这一哲学性概念出发，探索了“家”的流动性、归属感与存在意义。借由游牧式的生活方式，本项目试图挑战了传统“家”
的定义，并采用一系列空间和物品的感知与重构，反思了“家”与身体、归属、流动性之间错综复杂的关系。
"Acres of Diamonds" is an experimental art project by artist Maoyu Mao, conducted between 2021-2023 in London and its outskirts, exploring the philosophical coxncept of "home." The project begins with the artist’s nomadic lifestyle and challenges the traditional notion of "home," reflecting on the complex relationships between home, the body, belonging, and mobility.
"Acres of Diamonds" is an experimental art project by artist Maoyu Mao, conducted between 2021-2023 in London and its outskirts, exploring the philosophical coxncept of "home." The project begins with the artist’s nomadic lifestyle and challenges the traditional notion of "home," reflecting on the complex relationships between home, the body, belonging, and mobility.
Exhibition View, 2025
Exhibition Map, 2025
Circus Library/ 马戏图书馆
陶瓷棋子、手稿、书籍、棉布帐篷、金属支架、棉绳、口琴、拨片、塑料盒
Ceramic chess set, manuscripts, books, cotton tent, steel stand, cotton string, harmonica, plectrum, plastic box
95 × 130 × 45 cm
2023
“Boat Ear Moon” sleep bag / 船耳月睡袋
PVC、鼓风机、Marshall 蓝牙音响、手提箱、手稿
PVC, blower, Marshall Bluetooth stereo, suitcase, manuscript
200 × 85 × 85 cm
2023
Video Screenshot：“Boat Ear Moon” sleep bag
︎︎︎ ︎ video ︎
Snowflake Dressing Set/ 雪花梳妆组
牙刷、牙膏、保湿霜、化妆包、纸张、镜子、硅胶、眼影盒、香皂、发夹、指甲剪、化妆刷、制服、金属支架
Toothbrush, toothpaste, moisturiser, make-up bag, paper, mirror, silicone, eyeshadow case, soap, clip, nail clipper, make-up brush, uniform, metal stand
尺寸可变 / Dimensions Variable
2023
Kioxia ｜小助手 Kioxia
闹钟、塑料棋子、U盘、陶瓷
Alarm clock, plastic chess pieces, USB flash drive, ceramic
10 × 8 × 6 cm
2023
Circus Library/ 马戏图书馆
陶瓷棋子、手稿、书籍、棉布帐篷、金属支架、棉绳、口琴、拨片、塑料盒
Ceramic chess set, manuscripts, books, cotton tent, steel stand, cotton string, harmonica, plectrum, plastic box
95 × 130 × 45 cm
2023
OMOWO (Secret Base)/ OMOWO 秘密基地
纸张、杂耍棍
Paper, juggling clubs
80 × 60 × 45 cm
2025
Video Screenshot：OMOWO (Secret Base)/ OMOWO 秘密基地
︎︎︎ ︎ video ︎
Workshop ｜工作坊
捡拾椅子、门、水瓶、棉花、铁盒、陶瓷、蜡烛、打火机、纸张、木棍、工具、胶带、钉 子、足袋鞋、剪刀、手稿、包装盒、海绵擦
Found chair, found door, water bottle, cotton, tin box, ceramic, candle, lighter, paper, stick, tools, tapes, nails, tabi shoes, scissors, manuscript, packaging box, sponge wipe
尺寸可变 / Dimensions Variable
2023
忧郁 I
Melencolia I
Installatiob series
2022
有些人以一种极其深刻的方式体验着“边界上的生命”这一状态。他们从不明确地属于这里或那里，而是生活在无人之地。忧郁，是一种当个体感到自己接近无限之时所产生的焦虑——一种既令人狂喜、又带有威胁性的状态。成为一种“活着的边界”，逐渐构成了生命的意义本身。
同样地，正是这种模糊而不确定的引导推动着这一作品的展开。运动的方向由偶然性决定，思想的内容则由复杂的情绪所塑造，其核心源于对经验的丰富体验，以及一种不断重构自身与物质世界关系的意图。被发现的对象脱离了其固定的形态与神秘的历史特征。而在这种有意识的“重新命名”的运动中，它们试图从原有意义中抽离出来，重新获得自身的所有权。
或者也可以这样描述：一些神秘的符号、未知的字母、异域的词语。忧郁的隐喻维度在于：它们不仅指向自身，同时也暗示着一种缺失（被失去的爱之对象），更重要的是，在这一姿态中使某种“他者”变得可见——这一姿态，在丢勒的杰作《忧郁 III》中逐渐显现并变得清晰。
同样地，正是这种模糊而不确定的引导推动着这一作品的展开。运动的方向由偶然性决定，思想的内容则由复杂的情绪所塑造，其核心源于对经验的丰富体验，以及一种不断重构自身与物质世界关系的意图。被发现的对象脱离了其固定的形态与神秘的历史特征。而在这种有意识的“重新命名”的运动中，它们试图从原有意义中抽离出来，重新获得自身的所有权。
或者也可以这样描述：一些神秘的符号、未知的字母、异域的词语。忧郁的隐喻维度在于：它们不仅指向自身，同时也暗示着一种缺失（被失去的爱之对象），更重要的是，在这一姿态中使某种“他者”变得可见——这一姿态，在丢勒的杰作《忧郁 III》中逐渐显现并变得清晰。
Others experience the mystery of 'life on the border' in a profound way. They are never explicitly here or there. They live in no human's land. Melancholy is the anxiety of a person who feels close to the infinite, but also ecstatic and threatening at the same time. To be a "living frontier" becomes the meaning of life.
Again, this vague guidance drives this work. The direction of movement is determined by chance, the content of thought by complex emotions, the core of which comes from a rich experience of experience and an intention to constantly reconfigure the relationship with the material world. The discovered objects are divorced from their fixed shapes and mysterious historical features. But in this deliberate movement of 'renaming', they attempt to detach themselves from their original meaning and regain ownership. Or it could be described as: some mysterious signs, unknown letters, foreign words. The metaphorical dimension of melancholy: they do not only point to themselves, they also suggest a lack (love object lost) and, more importantly, make something else visible in this gesture - a gesture that gradually becomes clear in Dürer's masterpiece "Melancholy III ".
Exhibition View of Melencolia I
Egger bigger
Metal, prints, plastic paper
31*30cm
2022
Metal, prints, plastic paper
31*30cm
2022
Princess Scale
Aluminium, iron, steel, waxed wire, stone
Variable size
2022
Aluminium, iron, steel, waxed wire, stone
Variable size
2022
Sudoku
Stone, wood
2022
Stone, wood
2022
Ice Blade Escape
Steel
60*2cm
2022
Steel
60*2cm
2022
White Night 35
Steel, cotton thread, wax, lime powder, paper, mineral pigments, iron absorbers
20.5*27cm
2022
Steel, cotton thread, wax, lime powder, paper, mineral pigments, iron absorbers
20.5*27cm
2022
Reading 'Star ethics'
Wood, metal, fishing line, motor, wheel bone cover
Power Installation, Variable size
2022
Wood, metal, fishing line, motor, wheel bone cover
Power Installation, Variable size
2022
Egger biggest
Metal, prints, plastic paper
38*25cm
2022
Metal, prints, plastic paper
38*25cm
2022
White Night 34
Steel, cotton thread, wax, lime powder, paper, mineral pigments, iron absorbers, magnet
135*125cm
2022
Steel, cotton thread, wax, lime powder, paper, mineral pigments, iron absorbers, magnet
135*125cm
2022
Installationn view in exhibition ““Breaking a Large Volume””, London, 2022
Tickets
to
Ride
游乐骑行券
2021-2022
Exhibition View in “Breaking a Large Volume”, London, 2022
Flâneur
Checkerboard formation, kite apparatus, thread, powder, ceramic
2022
Checkerboard formation, kite apparatus, thread, powder, ceramic
2022
Boots shop
boot doorknob, gift wrap, wine
2022
Wind traveler
Street light, button light, lime powder, gift line, found glass with photo print
2022
HOME // STUDIO
Bicycle bell, pencil on sulphate paper, lime powder, gift line, 2 JVC TV
Video installation
2022
家//工作室
双屏影响, 8’30’’
2022
家和工作室是同一个地方。休闲与劳动之间的转换，通过一个仪式性的“触发器”来切换：清晨，从“家”出发，顺时针绕街区一圈，回到原点，把这里变成 “工作室”；傍晚，逆时针绕行回来，又从“工作室”回到“家”。这组双频影像记录了两段日常的步行路线。重复的路径中，空间的意义随着行走的方向转 换。这是一种心理地理学的仪式，空间不必移动，但意识已经抵达另一个地方。
双屏影响, 8’30’’
2022
家和工作室是同一个地方。休闲与劳动之间的转换，通过一个仪式性的“触发器”来切换：清晨，从“家”出发，顺时针绕街区一圈，回到原点，把这里变成 “工作室”；傍晚，逆时针绕行回来，又从“工作室”回到“家”。这组双频影像记录了两段日常的步行路线。重复的路径中，空间的意义随着行走的方向转 换。这是一种心理地理学的仪式，空间不必移动，但意识已经抵达另一个地方。
Home // Studio
Dual digital video, 8’30’’
2022
Home and studio are the same place. The transition between leisure and labor is triggered by a ritual: In the morning, I step out from “home,” walk clockwise around the block, return to the starting point, and transform the space into a “studio”; in the evening, I walk counterclockwise and return from the “studio” to “home.”This dual-frequency video captures two walks, each representing a distinct segment of the day. Within the repetitive path, the meaning of the space shifts with the direction of movement. It is a psychological-geographic ritual: space may remain unchanged, but the mind has arrived at a different place.
Dual digital video, 8’30’’
2022
Home and studio are the same place. The transition between leisure and labor is triggered by a ritual: In the morning, I step out from “home,” walk clockwise around the block, return to the starting point, and transform the space into a “studio”; in the evening, I walk counterclockwise and return from the “studio” to “home.”This dual-frequency video captures two walks, each representing a distinct segment of the day. Within the repetitive path, the meaning of the space shifts with the direction of movement. It is a psychological-geographic ritual: space may remain unchanged, but the mind has arrived at a different place.
The Second McDonald Attack
第二次麦当劳突袭
Video Installation
Variable size
2021
In November 2021, Maoyu was walking at a slow pace undetectable to pedestrians on Southwark Bridge in London, from 5 am to 9 am - taking 4 hours to complete the bridge（244 meters). This video is a recorded edited version of this slow walk.
2021年11月，矛予在伦敦的南华克桥上以行人无法察觉的慢速行走，从早上5点到9点--用4个小时走完了这座桥（244米）。这段视频是这次慢走的录音剪辑版。
2021年11月，矛予在伦敦的南华克桥上以行人无法察觉的慢速行走，从早上5点到9点--用4个小时走完了这座桥（244米）。这段视频是这次慢走的录音剪辑版。
Screenshots of the video
︎︎︎ video link
︎︎︎ video link
One day. 4am. Hanging out with friends at the West Lake . Didn't want to go back to bed at this awkward hour/ But wanted to have McDonald's for breakfast.
The fact is McDonald's doesn't open until 7am and it's only 500m away from us, so it's too early to go.
In order not to waste time and energy, we decided it was better to leave now.
Slowly slowly from darkness to daylight. From no one slowly becoming occupied. From quiet slowly slowly becoming noisy. Walking at a very slow pace, unnoticeable to pedestrians.
We arrived at McDonald's at 7 o'clock sharp.
Maoyu, 2021.12
Indicator
Signal light box, led screen, iron chains, video with sound
45*35*35cm
2021
Schematic
London map in frames
25*10*1cm
2021
Installationn view in exhibition “future-after”, London, 2021
Psychedelic Train
Photo project
2021-ongoing
2021-ongoing
Capture eternal silence in moving images.
Sitting in a carriage, understanding one's own movement as stillness, safely and calmly observing all the changing distant objects, and re-understanding the endless changes-nothingness without fixed colors, contours, and time and space characteristics. But there is a silence beyond the world, a deep silence, almost a kind of "perfect peace."
Sitting in a carriage, understanding one's own movement as stillness, safely and calmly observing all the changing distant objects, and re-understanding the endless changes-nothingness without fixed colors, contours, and time and space characteristics. But there is a silence beyond the world, a deep silence, almost a kind of "perfect peace."
all day, all night，01
Image Installation
195*27*5.5cm
2021
Image Installation
195*27*5.5cm
2021
all day, all night，02
Image Installation
125*26*5.5 cm
2021
单人房间：OOQ
Single room: OOQ
2021
Single rooms,
itinerant circuses,
spired churches,
aligned arches,
snowy villages.
Illuminating the shadows of the days ahead.
Maoyu, 2021
单人的房间，
巡回的马戏,
尖顶的教堂，
相对的拱门，
下雪的村庄，
照见当下之影。
矛， 2021
Exihibition view on “To Each His Chimera”, Hangzhou, 2021
ZIYUMAO
Mixed media collage series with frame
100*100m
2021
Now, I’m invisible 01Leather, acrylic, waxed thread, iron
28*24cm
2021
Now, I’m invisible 02Leather, acrylic, waxed thread, iron
200* 160*100cm
2021
Trace left by a horse
Text, variable size
2021
Single room: OOQ 01
Iron, snow powder, paint
125*193cm, 125*62.5cm
2021
Iron, snow powder, paint
125*193cm, 125*62.5cm
2021
Single room: OOQ 02Iron, snow powder, paint
125*193cm
2021
Single rooms,
itinerant circuses,
spired churches,
aligned arches,
snowy villages.
Illuminating the shadows of the days ahead.
Maoyu, 2021
单人的房间，
巡回的马戏,
尖顶的教堂，
相对的拱门，
下雪的村庄，
照见当下之影。
矛， 2021
夜的玛祖卡
Night's Mazurka
Acrylic, glass chess pieces, gauze, thread, motor, wax, aluminum strip, integrated painting, vinyl record
Power installation, variable size
2020
这件作品由一张“乐谱”与四个盒子装置组成。所有的元素在它们彼此接近基础上，共同唤起一个神秘的世界和充满诗意的遐想。它在符号与生命间互相定位，位于被看见的和消失的，已知的和假定的，温柔的和残酷的交集中。这是一首无声的乐曲，夜晚音符们出台表演，也有很多人闭上眼睛。
The work consists of a “sheet music” and four box devices. On the basis of their close relationship, all elements together evoke a mysterious world and poetic reverie. It is located between the symbol and life, in the intersection of seen and disappeared, known and assumed, gentle and cruel. This is a silent music. At night, the notes are put on the stage and many people close their eyes.
The work consists of a “sheet music” and four box devices. On the basis of their close relationship, all elements together evoke a mysterious world and poetic reverie. It is located between the symbol and life, in the intersection of seen and disappeared, known and assumed, gentle and cruel. This is a silent music. At night, the notes are put on the stage and many people close their eyes.
︎︎︎ music score︎
Exhibition View, China Academy of Art Gallery, Hangzhou, 2020
贝林报
Berimbau
installation，variable size
2019
在此，人由一个被扔入森林的蛋来到世间。
巴西乐器Berimbau的制作十分简单——椰壳共鸣腔+弓形铁丝+木棍敲击+石头调节音调。我试图制作一把“Berimbau”：在中国黄河第一弯所属的玛曲县中，我沿着这一弯我找到了一个合适的河滩，水流低谷的地形作为“共鸣腔”；我在一个已失去功能的铁索桥边寻找到一些“弓形铁架”；找到一根骨头——作为“敲击工具”；最后以“选美”的形式寻找到可以控制音调的石头们。在自然的“曲度演变”下，这种程式化的工序使无逻辑的推演成立，在足够空白之处——单纯的形式造就了一个美妙的停顿。
在此，石头的腿上穿着纱袜。
Here, people come into the world from an egg thrown into the forest.
The Brazilian musical instrument Berimbau is very simple to make - coconut shell resonance cavity + arched wire + wooden stick percussion + stone to adjust the tone. I tried to make a "Berimbau": in Maqu County, where the first bend of the Yellow River in China belongs, I found a suitable beach along this bend. The terrain of low water flow serves as the "resonance cavity"; I found some "bow shaped iron frames" beside a cable bridge that had lost its function; I found a bone - as a "percussion tool"; Finally, in the form of "Beauty Pageant", we can find the stones that can control the tone. Under the natural "curvature evolution", this stylized process makes the illogical deduction set up, and creates a wonderful pause in the enough blank - the simple form.
Here, the legs of the stone were covered with gauze stockings.
巴西乐器Berimbau的制作十分简单——椰壳共鸣腔+弓形铁丝+木棍敲击+石头调节音调。我试图制作一把“Berimbau”：在中国黄河第一弯所属的玛曲县中，我沿着这一弯我找到了一个合适的河滩，水流低谷的地形作为“共鸣腔”；我在一个已失去功能的铁索桥边寻找到一些“弓形铁架”；找到一根骨头——作为“敲击工具”；最后以“选美”的形式寻找到可以控制音调的石头们。在自然的“曲度演变”下，这种程式化的工序使无逻辑的推演成立，在足够空白之处——单纯的形式造就了一个美妙的停顿。
在此，石头的腿上穿着纱袜。
Here, people come into the world from an egg thrown into the forest.
The Brazilian musical instrument Berimbau is very simple to make - coconut shell resonance cavity + arched wire + wooden stick percussion + stone to adjust the tone. I tried to make a "Berimbau": in Maqu County, where the first bend of the Yellow River in China belongs, I found a suitable beach along this bend. The terrain of low water flow serves as the "resonance cavity"; I found some "bow shaped iron frames" beside a cable bridge that had lost its function; I found a bone - as a "percussion tool"; Finally, in the form of "Beauty Pageant", we can find the stones that can control the tone. Under the natural "curvature evolution", this stylized process makes the illogical deduction set up, and creates a wonderful pause in the enough blank - the simple form.
Here, the legs of the stone were covered with gauze stockings.
ODPb0·I
Waterdrop series, variable sizes
2019-2020
关注艺术和日常生活的脆弱状态。
与精确和标准化的测量概念相比，这项工作的重点不在物质尺寸上，而是在 "尺度 "上。它更像是一种新的语言。其中对 "形式 "本身的理解是反向的，以一种松散的方式处理物质性和各种姿势。借助一些简单和轻盈的 "话语"，就在事物安静的那一面，微妙的情感随之而生。
Focusing on the fragile state of art and daily life
In contrast to the precise and standardized concept of measurement, the focus of this work is not on the material size, but on the “scale”. It is more like a new language. I understand the “form” itself in a reverse way, and deal with the materiality and various postures in a loose way. With some simple and light “words” , on the quiet side of things, subtle emotions arise.
与精确和标准化的测量概念相比，这项工作的重点不在物质尺寸上，而是在 "尺度 "上。它更像是一种新的语言。其中对 "形式 "本身的理解是反向的，以一种松散的方式处理物质性和各种姿势。借助一些简单和轻盈的 "话语"，就在事物安静的那一面，微妙的情感随之而生。
Focusing on the fragile state of art and daily life
In contrast to the precise and standardized concept of measurement, the focus of this work is not on the material size, but on the “scale”. It is more like a new language. I understand the “form” itself in a reverse way, and deal with the materiality and various postures in a loose way. With some simple and light “words” , on the quiet side of things, subtle emotions arise.
“It has a button light on its left eye. It will only light up if you press the bubble.”
Bubble wrap, button light, pin,
8*18 cm
2019
Bubble wrap, button light, pin,
8*18 cm
2019
Bubble wrap, water
3*25cm
2019
floa-ting
Bubble paper, steel wire, steel ball
3*40 cm
2019
Bubble paper, steel wire, steel ball
3*40 cm
2019
7% frost
bubble paper, snow powder
3cm x 25cm
2019
bubble paper, snow powder
3cm x 25cm
2019
Bubble wrap
10*10 cm
2019
Sandpaper, wire, pins
5*8 cm
2019
Gypsum
8*20cm
2019
Air column, water
10*3 cm
2019
一滴飞溅
The splash of a drop
Waterdrop series, variable sizes
2019-2020
我试图回溯性地提取记忆中的常存物象，而它在进行中则慢慢演化成了一个美妙且不可控的类分解过程。水，一滴水滴，在水域中亦或是独自悬浮时，总以它无定型且自由延续的形态运动着——保持其微小而浑然的灵性；“观看”的聚焦使时间因素的介入被削减，直至物象呈现固化的形态，一滴水的飞溅得到想象性地再生。静止、无声地流动，不断向周边扩散分解着。此为我的一个长期项目。
I have tried to retrospectively extract a constant object from memory, which slowly evolves into a beautiful and uncontrollable process of decomposition. The water, a drop, in the water or alone in suspension, always moves in its amorphous and free form - maintaining its small and fluid spirituality; the focus of the 'view' reduces the intervention of the temporal element until the object takes a solid form. The splash of a drop of water is imaginatively regenerated. A still, silent flow, constantly spreading and disintegrating to the periphery. This is a long-term project for me.
I have tried to retrospectively extract a constant object from memory, which slowly evolves into a beautiful and uncontrollable process of decomposition. The water, a drop, in the water or alone in suspension, always moves in its amorphous and free form - maintaining its small and fluid spirituality; the focus of the 'view' reduces the intervention of the temporal element until the object takes a solid form. The splash of a drop of water is imaginatively regenerated. A still, silent flow, constantly spreading and disintegrating to the periphery. This is a long-term project for me.
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“in a sense the waters are a place big enough to get lost in and small enough to find yourself in.”
Plaster, iron, foam bricks
2019
Sculpture view on exhibition “Nanshan Property*White Cloud Cleaning*Slip carefully“, Hangzhou, 2019
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“I have a strict cleanliness about myself that is the condition of my existence. I swim and bathe in any substance that is completely transparent and clear, removing stains and natural purity. A constant experience for tens of thousands of years.”
live performance
cooperate with Chongkai Xie
2019
live performance
cooperate with Chongkai Xie
2019
Performance view on exhibition “4/4 Puzzle plan“, Ram Café, Hangzhou, 2019
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09
10
“The river is omniscient and travels through the earthly world like a stone flying under water, without effort or struggle, guided by itself and left to sink, precisely the guidance of the goal that forbids anything that interferes with it from entering the soul.”
Faulty print on paper
21*29.7cm (10)
2020
“The river is omniscient and travels through the earthly world like a stone flying under water, without effort or struggle, guided by itself and left to sink, precisely the guidance of the goal that forbids anything that interferes with it from entering the soul.”
Faulty print on paper
21*29.7cm (10)
2020
Faulty print on paper
21*29.7cm (10)
2020
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“The idea of eternal reincarnation is a mysterious one.”
drawing on sulphate paper
21*29.7cm (...)
2020
“The idea of eternal reincarnation is a mysterious one.”
drawing on sulphate paper
21*29.7cm (...)
2020
drawing on sulphate paper
21*29.7cm (...)
2020
“May a drop splash!“
Glue painting series
2020
“May a drop splash!“
Glue painting series
2020
Glue painting series
2020
视力花园
Sight Garden
Space project for “2019 Zhijiang International Youth Arts Festival“
Collaboration with Yujia Wang and Yijun Zhu
2019
在视力花园触不可及的平行空间内散布着大量繁殖信息，每个二维码都是分岔口、任意门，为在其中的人提供选择和干扰。信息自爆导致失效，即“假花园”的出现——数据紊乱、生长失序，看似实体但此内无虚拟空间，无重力、无颜色、无生命……人既是这个花园的缔造者，也是破坏者。选择的所有可能性敞开，空间已被余数所充斥。
A large number of reproduction information is scattered in the parallel space which is inaccessible to the sight garden. Each QR code is divided into bifurcations and arbitrary doors to provide selection and interference for the people in it. Information self explosion leads to failure, that is, the emergence of “fake garden” - Data disorder, growth disorder, seemingly solid but without virtual space, no gravity, no color, no life…… Human is both the builder and the destroyer of the garden. All the possibilities of choice are open, and the space is filled with the remainder.
A large number of reproduction information is scattered in the parallel space which is inaccessible to the sight garden. Each QR code is divided into bifurcations and arbitrary doors to provide selection and interference for the people in it. Information self explosion leads to failure, that is, the emergence of “fake garden” - Data disorder, growth disorder, seemingly solid but without virtual space, no gravity, no color, no life…… Human is both the builder and the destroyer of the garden. All the possibilities of choice are open, and the space is filled with the remainder.
失重的谱系
Weightless Spectrum
Brick, motor, paper
Power installation, variable size
2018
此时的诗歌不再是简单的词语排列，它成了一样事物，他的自治性无可争议。它们不服从于任何需要，不再只是为交流而存在，它们不会立即消失，它们能够持续。轻微的纸片一次次划过冰冷厚重的砖块——形成“失重的圈”和“残缺的圆” 。纯净的黑在我眼里也是白的，日间是白色的，而夜晚则是有色的。我在人群中找寻庇护，我想咒骂，想用它换了我的歌。
The poetry at this time is no longer a simple arrangement of words.
It becomes one thing, and its autonomy is undisputed. They are not subject to any need, they are no longer just for communication, they do not disappear immediately, they can last. The slight pieces of paper pass through the icy and heavy bricks again and again – forming a “weightless circle” and a “broken circle”. Pure black is also white in my eyes, white in the daytime, and colored in the night. I am looking for asylum in the crowd, I want to curse, I want to use it to change my song.
The poetry at this time is no longer a simple arrangement of words.
It becomes one thing, and its autonomy is undisputed. They are not subject to any need, they are no longer just for communication, they do not disappear immediately, they can last. The slight pieces of paper pass through the icy and heavy bricks again and again – forming a “weightless circle” and a “broken circle”. Pure black is also white in my eyes, white in the daytime, and colored in the night. I am looking for asylum in the crowd, I want to curse, I want to use it to change my song.
Exhibition View, 2018
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Photograph
2017
2017
一个星期后我又来到此地，发现痕迹已褪去，仿佛来到一光年以外的宇宙。
A week later I came here again and found that the traces have faded,as if I had come to the universe a light-year away.
Capture eternal silence in moving images.
若水
Water like
Landscape painting, questionnaire, failure sketch, 28 clay sculptures with labels
Water drop group picture / story, variable size
201
水圈的扩散程度 ，因中心势力的变化而变化；人伦，可能就是以“己”为中心推出去的波纹和与自己产生交集的波纹之间的差序。对于的一个隐喻形式，表达了当代⼈处在当前时间和空间内的某种状态，我们在生活中的种种选择，是基于爱还是恐惧？直到回到最初的起点，观察、探索、经历，许能放下自己为自己制造的困局。
最终的作品呈现实为我追寻自画像的过程记录。首先制作一张问卷调查采集者的“重量”。然后根据他们的回答做量化处理，并参照量化后的数据分发相应的可塑材料，让采集者完成他们的“自画像”。最后将它们投入水中。
The diffusion degree of the hydrosphere changes with the change of the central force; human relations may be the difference order between the waves pushed out from the center of "self" and the waves generated by the intersection with oneself. For such a metaphorical form, it expresses a certain state in the current time and space. Are our choices in life based on love or fear? Until back to the original starting point, observation, exploration, experience, may be able to let go of their own created difficulties.
The final works present the reality for me to pursue the self portrait process record. First, make a questionnaire to investigate the "weight" of the collectors, then do quantitative processing according to their answers, and distribute the corresponding plastic materials with reference to the quantified data, so that the collectors can complete their "self portrait", and finally put them into the water.