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<channel>
	<title>chinyurin</title>
	<link>https://chinyurin.com</link>
	<description>chinyurin</description>
	<pubDate>Wed, 07 May 2025 10:31:49 +0000</pubDate>
	<generator>https://chinyurin.com</generator>
	<language>en</language>
	
		
	<item>
		<title>Home</title>
				
		<link>https://chinyurin.com/Home</link>

		<pubDate>Tue, 02 Jun 2020 01:45:40 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/Home</guid>

		<description>

︎
	


CHINYURIN

	

	
	</description>
		
	</item>
		
		
	<item>
		<title>金鱼与风筝2025</title>
				
		<link>https://chinyurin.com/2025-2</link>

		<pubDate>Wed, 07 May 2025 10:31:49 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/2025-2</guid>

		<description>
	



《金鱼与风筝》2024-2025




玻璃/不锈钢/塑料绳/玻璃珠子/塑料珠子
铸造/热熔

山上树荫下的路边小排屋拆得干净，墙后头的小学还在上课。春天了，学校门口报刊亭卖起了风筝，旁边的小朋友借我的风筝玩，刚放起来挂到了树上，来来回回放没了三只，我吃了一顿竹笋炒肉。家里不让养带毛的宠物，有一天在公园小摊上捞到了两条金鱼，鱼缸放在电视机旁边。我会隔着鱼缸盯着它们，喂鱼食，拿花杆 子逗它们，后来金鱼的肚皮翻了起来。
《Goldfish and Kite》2024-2025

Glass/Stainless steel/Plastic rope/Glass beads/Plastic beads
Casting/Fusing
The small roadside houses under the shade of the trees on the mountain weredemolished, and the elementary school behind the wall was still in class. It wasspring, and the newsstand at the school gate was selling kites. A little kidnearby grabbed my kite to play with,but just as he got it up in the air, it gotstuck in a tree. After flying it back and forth, three of them were gone and Iended up catching a good whooping.My family doesn't allow pets with fur. One day, I caught two golden fish at astall in the park. The fish tank was placed next to the TV. I would stare at themthrough the fish tank, feed them, and tease them with a flower stick. Laterthe golden fish's belly turned upside down.



&#60;img width="5829" height="3886" width_o="5829" height_o="3886" data-src="https://freight.cargo.site/t/original/i/706ce2f330014ada45220da786779c72f56a1eadffde3ba93966164c8d67162f/.jpg" data-mid="232888410" border="0"  src="https://freight.cargo.site/w/1000/i/706ce2f330014ada45220da786779c72f56a1eadffde3ba93966164c8d67162f/.jpg" /&#62;


&#60;img width="5786" height="3254" width_o="5786" height_o="3254" data-src="https://freight.cargo.site/t/original/i/01eebe47328ef966687e8b3fac86152ff0f0741d8b7f64ddd637a1627c9c1cd7/2a.jpg" data-mid="232888375" border="0"  src="https://freight.cargo.site/w/1000/i/01eebe47328ef966687e8b3fac86152ff0f0741d8b7f64ddd637a1627c9c1cd7/2a.jpg" /&#62;
 

2024-2025




	


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 &#38;nbsp;


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	</item>
		
		
	<item>
		<title>照片系列-宿舍区门口2025</title>
				
		<link>https://chinyurin.com/2025-1</link>

		<pubDate>Wed, 07 May 2025 10:06:18 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/2025-1</guid>

		<description>
	



《照片系列-宿舍区门口》2025
材料：玻璃/木框/蓝晒液/线/珠子/咖啡液技法：热熔/丝网印/蓝晒


宿舍区门口，还剩一间碎白瓷砖贴的门卫和背后的一栋红砖筒子楼。
走近有堆在角落的生活垃圾伴随着空气里厕所潮湿的味道，我看向围墙后，是整片的断壁残垣，通道、操场、幼儿园、澡堂和小区楼全部消失了，和建筑一起消失的还有它们构筑的空间。
对面楼的奶奶很喜欢我，总拿她儿子寄回家的进口咖啡糖给我吃，奶奶搂着我在宿舍区门口照了一张照片，旁边的杉树冲天，再走两步就是厂办幼儿园。我穿了牛仔背带裙和红色的裤袜，因为不喜欢照相而皱着眉头向后缩成一团。


«Dormitory area entrance))2025 new version
Material:Glass/Cement/Cyanotype/Photo/Candle/Glue/CoffeeFusing/Cyanotype/Screen printing

At the entrance to the dormitory area, only a gatehouse covered in crackedwhite tiles and a red-brick tube-shaped building remain. As I walk closer, thesmell of household waste and dampness from the toilets lingers. Looking pastthe wall, I see nothing but ruins- passageways, the playground, kindergarten,bathhouse, and residential buildings have all disappeared, along with thespaces they once created.The grandma Wang ,she was a friend of my granma, from the building acrossthe way liked me a lot, always giving me imported coffee candies her son senthome. She once hugged me and took a photo at the dorm entrance, besidethe tall cedar tree, with the kindergarten in the background. I wore a denimoverall dress and red tights, shrinking back because I didn't like being photographed.





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2025




	


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&#38;nbsp;








	


</description>
		
	</item>
		
		
	<item>
		<title>照片系列-剧院2025</title>
				
		<link>https://chinyurin.com/2025</link>

		<pubDate>Tue, 15 Oct 2024 14:27:10 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/2025</guid>

		<description>
	



《照片系列-剧院》2025

剧院 2024 
玻璃/蓝晒//照⽚/蜡烛/陶瓷电镀&#38;nbsp;

⼭下分⼚⾥有⼀座剧院，翻过栏杆上⼆楼，墙上三扇狭⻓的窗户，往⾥看是⻓满了野草的舞台，台上幕布灯笼垂落，阳光从瓦砾间照在植物上。 六⼀⼉童节汇演，⽼师给定做了橘⾊的健身操服，⼿⼯缝上了银纸星星，肚⼦太圆还没上台就撑掉了⼏颗。 


Theater 2025 new version
 
Glass/Cyanotype/Ceramics/Photos/Candles/GlueCasting/Cyanotype/Ceramic plating

At the foot of the mountain, there is a theater. Climbing over the railing to thesecond floor, you see three narrow windows on the wall. Looking inside, thereis a stage overgrown with wild grass, the curtain and lanterns hanging downwith sunlight filtering through the rubble and illuminating the plants. During theChildren's Day performance, the teacher custom-made an orange aerobicsoutfit, with silver foil stars hand-sewn onto it. My belly was so round that afew stars popped off before I even got on stage.



&#60;img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/b7517f7a35e1ea49b4f86d1671fbbe8eee963e936161155148798435f9be304f/1.jpg" data-mid="232887377" border="0"  src="https://freight.cargo.site/w/1000/i/b7517f7a35e1ea49b4f86d1671fbbe8eee963e936161155148798435f9be304f/1.jpg" /&#62;





&#60;img width="4284" height="5712" width_o="4284" height_o="5712" data-src="https://freight.cargo.site/t/original/i/84e5596490b495db65d39f098de570967b736cf446ed051fd1509cf74a4212e8/.jpg" data-mid="232887378" border="0"  src="https://freight.cargo.site/w/1000/i/84e5596490b495db65d39f098de570967b736cf446ed051fd1509cf74a4212e8/.jpg" /&#62;



 

2025




	
&#60;img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/a8d0b61362569d9929528fa2b6174e1aae58b5602edc893a2ba84104d05ed283/.jpg" data-mid="232887702" border="0"  src="https://freight.cargo.site/w/1000/i/a8d0b61362569d9929528fa2b6174e1aae58b5602edc893a2ba84104d05ed283/.jpg" /&#62;
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 &#38;nbsp;








	


</description>
		
	</item>
		
		
	<item>
		<title>摇椅2024</title>
				
		<link>https://chinyurin.com/2024</link>

		<pubDate>Tue, 15 Oct 2024 13:51:16 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/2024</guid>

		<description>
	



《摇椅》2024
Soul of the decayed rocking chair 2024

Materials:The decayed wooden rocking chair was fused into glass with a rebar frame and suspended by steel cables.

⻓久⽆⼈使⽤⽽⽵⽚脱落的⽊摇椅，春⻜草⻓，放在后院中逐渐被植物淹没，等到想起来去看时，已经被⽩蚁啃噬掉⼩半。 21年创作《未果》时我开始注意到事物的残渣，到22年《过剩》时开始将事物的灰烬烧进玻璃。在我眼中这是⼀场⽕化仪式。 摇椅延续了之前的创作思路，我将摇椅腐朽的⽊⽚部件翻模⽤融化的玻璃封存。 




The wooden rocking chair, unused for a long time with bamboo pieces falling off, became gradually overgrown with spring grass in our backyard. By the time I remembered to check on it, termites had already devoured a good portion of it. When I created "Mika" in 2021, I started to pay attention to the remnants of objects. By the time of "Feast" in 2022, I began incorporating the ashes of objects into glass. In my view, this is a cremation ceremony. Continuing this creative approach, I made molds of the decayed wooden parts of the rocking chair and preserved them in molten glass.


長い間使われず、竹の部分が落ちた木製のロッキングチェアは、春の草が生い茂り、裏庭で徐々に植物に覆われていきました。思い出して見に行った時には、すでに白蟻にかなりかじられていました。2021年に「未果」を制作した際に、物の残骸に注目し始め、2022年の「過剰」では物の灰をガラスに焼き込むようになりました。私の目には、これは火葬の儀式のように映ります。ロッキングチェアは以前の創作の流れを継続し、その腐敗した木片部分を型取り、溶けたガラスに封じ込めました。


 

2024




	












	

&#60;img width="5746" height="3831" width_o="5746" height_o="3831" data-src="https://freight.cargo.site/t/original/i/635e9f1959ad6320136bf9428cca766eae061143ad93a0426520d6df1483972a/Rocking-chairChina2024Kiln-cast-glass2.jpg" data-mid="219782816" border="0"  src="https://freight.cargo.site/w/1000/i/635e9f1959ad6320136bf9428cca766eae061143ad93a0426520d6df1483972a/Rocking-chairChina2024Kiln-cast-glass2.jpg" /&#62;&#38;nbsp; 
&#60;img width="3880" height="5820" width_o="3880" height_o="5820" data-src="https://freight.cargo.site/t/original/i/51d3eb2caf5b3c208787249a968e537346038103432f431dad494ef9f0326aad/rocking-chair.jpg" data-mid="219782899" border="0" data-scale="44" src="https://freight.cargo.site/w/1000/i/51d3eb2caf5b3c208787249a968e537346038103432f431dad494ef9f0326aad/rocking-chair.jpg" /&#62;



&#60;img width="6048" height="4024" width_o="6048" height_o="4024" data-src="https://freight.cargo.site/t/original/i/1bf0b0ac5826760fad8154d7929adee204aed7c73ee544bc12bcfc1f945a04f2/Rocking-chairChina-2024Kiln-cast-glass2.JPG" data-mid="219782820" border="0"  src="https://freight.cargo.site/w/1000/i/1bf0b0ac5826760fad8154d7929adee204aed7c73ee544bc12bcfc1f945a04f2/Rocking-chairChina-2024Kiln-cast-glass2.JPG" /&#62;&#60;img width="6048" height="4024" width_o="6048" height_o="4024" data-src="https://freight.cargo.site/t/original/i/c799847b757f64c8241b72f763c6cda95adfc701c8f39c6be74266acd9cff28a/Rocking-chairChina-2024Kiln-cast-glass3.JPG" data-mid="219782817" border="0"  src="https://freight.cargo.site/w/1000/i/c799847b757f64c8241b72f763c6cda95adfc701c8f39c6be74266acd9cff28a/Rocking-chairChina-2024Kiln-cast-glass3.JPG" /&#62;



	


</description>
		
	</item>
		
		
	<item>
		<title>过剩2022</title>
				
		<link>https://chinyurin.com/2022</link>

		<pubDate>Wed, 20 Sep 2023 07:16:02 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/2022</guid>

		<description>
	



《过剩》
《过剩》是旧作《未果》的延续。我捡拾了身边被遗弃的水果和食材，翻模铸造而成，果实与玻璃共同存在于模具之中，伴随着窑炉升温，果实化为灰烬封存于玻璃之中。


被吃掉，还是归于垃圾桶，又或是沤肥再利用，这些所谓“废物”的命运及归属是人类所决定的，投射了人类的一厢情愿和自以为是。


我在此创造了一个隆重的仪式场域，将封存了灰烬的玻璃水果、结了水垢的玻璃杯碗，以及在废墟中拾取的盘子、烛台置于水泥餐台之上。邀请观者共赴这场“盛宴”，看似丰盛多样实则腐朽不堪。投射在玻璃果子之上的是它们鲜艳的“遗照”。


The work "Feast" is a continuation of my earlier piece "Mika." I gathered wasted, decaying fruits and made the fruit and recycled glass co-exist in plaster molds. As the kiln heated up, the fruit turned into ashes sealed within the glass.

Visitors are invited to this "feast," which appears to be rich and diverse but is actually decadent. Projected on top of the glass fruit is their "last photo." The world that mankind's excessive desire has produced is one that is always expanding and unsettling, filled with constant rivalry and conflict.

《過剰》は旧作《未果》の延続です。私は身近に捨てられた果物や食材を拾い集め、型取りして鋳造しました。果実とガラスが共存する型の中で、窯の温度が上がるにつれて果実は灰となり、ガラスの中に封じ込められます。
食べられるか、ゴミ箱に捨てられるか、それとも肥料として再利用されるか、これらのいわゆる「廃物」の運命と帰属は人間によって決定され、人間の一方的な願望と独りよがりを反映しています。

私はここで荘重な儀式の場を創り出し、灰を封じ込めたガラスの果物、水垢のついたガラスの杯や碗、そして廃墟から拾った皿や燭台をコンクリートの食卓に並べました。観者をこの「盛宴」に招待し、一見豊富で多様に見えても実際は腐敗している様を見せます。ガラスの果物に投影されているのは、彼らの鮮やかな「遺影」です。


 

2022




	












	

&#38;nbsp; 



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</description>
		
	</item>
		
		
	<item>
		<title>《》2022</title>
				
		<link>https://chinyurin.com/2022-1</link>

		<pubDate>Wed, 20 Sep 2023 06:59:27 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/2022-1</guid>

		<description>
	



《》2022
《》是一件由康宁Corning玻璃公司（上海）委任的作品，椅子结构由角铁焊接而成，椅垫使用了康宁提供的废弃有色碎屏玻璃。

这把椅子无依无靠，尖锐的坐垫也无法安坐。《》与作品《过剩》巧妙地共同构成了一个令人深思而焦虑紧张的小剧场。作品的名字不是随性的“未命名”，而是一种失声和空白，这是面对现实世界中的种种现象之后的无从开口与无能为力。

"" is a piece commissioned by Corning Glass Company (Shanghai). The chair structure is welded from angle iron, and the seat cushion is made of discarded colored glass fragments provided by Corning.This chair stands unsupported, and its sharp cushion makes it impossible to sit comfortably. "" and the work "Excess" together form a thought-provoking and anxiety-inducing small theater. The title of the piece is not a casual "Untitled"; rather, it represents a loss of voice and emptiness, a reflection of the inability to speak or act in the face of various phenomena in the real world.
&#38;nbsp;

2022,10



	












	

&#38;nbsp; 宇宙瓷厂废墟 2022//10/31


&#60;img width="3971" height="5560" width_o="3971" height_o="5560" data-src="https://freight.cargo.site/t/original/i/21b251786fe3fdfd6609e45ceae8c75b4801d12e802f5bb15ae064425c9b3415/1.jpg" data-mid="191337545" border="0"  src="https://freight.cargo.site/w/1000/i/21b251786fe3fdfd6609e45ceae8c75b4801d12e802f5bb15ae064425c9b3415/1.jpg" /&#62;

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&#60;img width="3932" height="5505" width_o="3932" height_o="5505" data-src="https://freight.cargo.site/t/original/i/602662e3d63948ba0225e7c8a250f0556958074ec6eca2b8021e7af493ac122d/2.jpg" data-mid="191337547" border="0"  src="https://freight.cargo.site/w/1000/i/602662e3d63948ba0225e7c8a250f0556958074ec6eca2b8021e7af493ac122d/2.jpg" /&#62;


&#60;img width="4024" height="5633" width_o="4024" height_o="5633" data-src="https://freight.cargo.site/t/original/i/42e0f32ee211c51b5fd24751a9e3529c570dee000efbf4776ba5955f470990a6/3.jpg" data-mid="191337548" border="0"  src="https://freight.cargo.site/w/1000/i/42e0f32ee211c51b5fd24751a9e3529c570dee000efbf4776ba5955f470990a6/3.jpg" /&#62;


	



</description>
		
	</item>
		
		
	<item>
		<title>挣钱了再做艺术2021</title>
				
		<link>https://chinyurin.com/2021</link>

		<pubDate>Fri, 10 Sep 2021 23:59:27 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/2021</guid>

		<description>
&#60;img width="5168" height="3448" width_o="5168" height_o="3448" data-src="https://freight.cargo.site/t/original/i/ac7624212a6177f93cc92be4c367786e8dd209d64115f9c8c801d74edc599a06/DSC06699.jpg" data-mid="118586332" border="0"  src="https://freight.cargo.site/w/1000/i/ac7624212a6177f93cc92be4c367786e8dd209d64115f9c8c801d74edc599a06/DSC06699.jpg" /&#62;

	



挣钱了再做艺术

材料：废弃灯泡/蜡烛/纸片


废弃灯泡是邻居小福带我去到一个大型工业园区的垃圾堆玩，从里面捡出来的，保留了风吹日晒留下的尘土。


燃烧的蜡烛是生命/生活压力的象征。炙烤着装了作品构想的灯泡。


有的灯泡被熏黑了不再能看见里面的文字，有的纸被烧成了灰烬，然而随着蜡烛的燃烧，火焰会越来越低，最后不会再影响到灯泡和纸片，蜡烛化作一滩烛泪在地上。


我有一本“脸书”，里面写满了杂七杂八的作品构想。


常听到人说“等挣钱了再做艺术”，然而挣不挣得到钱是一回事，做不做艺术是另一回事。两件事情往往不会达成正相关的关系。


这件装置是我对挣钱和做艺术之间的反思，也是对自己的警醒。

Earn Money, Then Make Art 2021


2021 / Materials: Discarded light bulbs / Candles and paper


The discarded light bulbs were picked from a garbage dump in a large industrial park, where my neighbour Xiaofu took me to. They retain the dust left by exposure to the elements. The burning candles symbolise the pressures of life. They heat the light bulbs that contain my artistic ideas. 

Some bulbs have become so blackened that the text inside is no longer visible, and some paper has turned to ashes. However, as the candles burn, the flames get lower and eventually will no longer affect the bulbs and 
papers, leaving a puddle of melted wax on the ground.

I have a "Face Book," filled with miscellaneous artistic ideas. I often hear people say, "Earn money, then make art." However, whether or not you make money is one thing, and whether or not you make art is another. These two things often don't correlate directly.


This installation is my reflection on the relationship between earning money and making art, and also a reminder to myself.



2021,06



	












	


&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/df96c7f74f6e3eb578288abeed77b92af743b92ef34cfc25533cb4bfb96907e5/DSC_1132.jpg" data-mid="118625106" border="0"  src="https://freight.cargo.site/w/1000/i/df96c7f74f6e3eb578288abeed77b92af743b92ef34cfc25533cb4bfb96907e5/DSC_1132.jpg" /&#62;
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&#60;img width="5488" height="3659" width_o="5488" height_o="3659" data-src="https://freight.cargo.site/t/original/i/5b02d5cc96d09f8ecbca0be67a0400749264b8ad5ab2840950ee73f33898e5b9/-.jpg" data-mid="118625046" border="0"  src="https://freight.cargo.site/w/1000/i/5b02d5cc96d09f8ecbca0be67a0400749264b8ad5ab2840950ee73f33898e5b9/-.jpg" /&#62;
&#38;nbsp; 捡废弃灯泡的工厂园区 2021/06/24




	

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		<title>给建筑物出一点汗2021</title>
				
		<link>https://chinyurin.com/2021-3</link>

		<pubDate>Mon, 13 Sep 2021 16:24:11 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

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	给建筑物出一点汗

这件作品的雏形是在18年，课题要求寻找一个空间并在里面放置一件符合空间的作品。 
我交出的提案是给日均四十度的玻璃工房出“汗”，由于当时是短期课题，提交几颗测试件之后便草草结束。

直到今年我到了景德镇，空气的潮湿程度使得体感仿佛是整个人泡在水里。
有一天邻居小福说“又开始返潮了，墙壁、地面上出了好多细密的小水珠”，使我再一次想起了“给建筑物出一点汗”。

这些小水珠其实是生活里细微不易察觉的存在，平时散布在空气中，
满足条件之后短暂地化为水珠出现在地板上，时间一到又消失不见，仿佛是游动的存在。

我想，所谓“游动的存在”——存在与不存在之间的实质其实是存在而不易察觉，
而艺术的价值之一可能是扩张日常中的习以为常，使人从无意识到意识到，从未察觉到察觉到。

恰巧这一次收到广州盛夏展览的邀约，我想炎炎夏日，正适合给建筑物出一点汗。

The prototype of this work was created in 2018. The assignment was to find a space and place a piece that fits that space. My proposal was to make the glass workshop, which averages forty degrees daily, "sweat." Since it was a short-term project at the time, it ended hastily after submitting a few test pieces.
This year, I arrived in Jingdezhen, where the humidity makes it feel as if one's entire body is immersed in water. One day, my neighbor Xiao Fu said, "The damp season has started again; there are many tiny water droplets on the walls and floor," which reminded me once again of the idea of making a building "sweat."
These tiny water droplets are actually subtle and hard-to-notice elements of daily life. Usually dispersed in the air, they temporarily condense into water droplets on the floor under certain conditions and then disappear, as if they are transient entities.
I think that the essence of a "transient existence"—the substance between existence and non-existence—is actually existing but not easily noticeable. One of the values of art might be to expand the ordinary, making people aware of what they previously overlooked, transitioning from unconsciousness to consciousness, from unawareness to awareness.
Coincidentally, I received an invitation for a summer exhibition in Guangzhou this time. I think the scorching summer days are perfect for making a building sweat a little.&#38;nbsp;2021，06



	



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		<title>游动的之间2021</title>
				
		<link>https://chinyurin.com/2021-5</link>

		<pubDate>Tue, 14 Sep 2021 02:30:43 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/2021-5</guid>

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&#38;nbsp;遊動している間に

“游动的之间”，是我的第一次个展。
这个题目源于玻璃本身的物质状态。玻璃分子的排列在空间中近似于液体，而同时玻璃像固体一样保持特定的外形，不会像液体随重力作用而流动，是一种介乎于固态与液态之间的物质。


生活中使我感受到“游动的存在”的瞬间同样使我着迷。返潮时地板、墙壁沁出的水珠;久静产生的耳鸣;大街上鼎沸的人声;过去的日记本;房梁垂下的蜘蛛丝......




我想，所谓“游动的存在”——存在与不存在之间的实质其实是存在而不易察觉，而艺术的价值之一可能是扩张日常中的习以为常，使人从无意识到意识到。


展览由两个部分构成，从《戴玻璃头罩的人》（2018）到《人间洗衣房》（2019-2020）再到研究科时期的《未果》（2020-2021），有人对我的印象是一直在做“批判艺术”。新作品《先挣钱了再做艺术》，就是延续了这部分的创造思路。


另一部分，和我从日本到景德镇之后生活、心态上发生的转变有关，扩展了以前在作品中比较少出现的更情绪化、更材料表现的作品。包括早先在2020年制作的《情书》，2019年的《给建筑物出一点汗》、以及最新的《融化》、《黑镜》、《碎片》。
"Between Fluidity," is my first solo exhibition.
 
The title derives from the material state of glass itself. The arrangement of glass molecules in space is similar to that of a liquid, yet glass maintains a specific shape like a solid and does not flow under the influence of gravity. It is a substance that exists between the solid and liquid states.
Moments in life that make me feel the "existence of fluidity" also fascinate me. Water droplets seeping from floors and walls during humid weather; the tinnitus that arises from prolonged silence; the bustling sounds on a busy street; old diaries; spider silk hanging from the beams...
I think that the essence of the so-called "existence of fluidity"—the substance between existence and non-existence—is actually existing but not easily noticeable. One of the values of art might be to expand the ordinary, making people aware of what they previously overlooked, transitioning from unconsciousness to consciousness.
The exhibition consists of two parts. From "Someone with glass helmet" (2018) to "Human Laundry" (2019-2020) and to "Mika" during my graduate studies (2020-2021), some people have the impression that I have been consistently creating "critical art." The new work "Earn Money First, Then Make Art" continues this creative approach.
The other part relates to the changes in my life and mindset since moving from Japan to Jingdezhen, expanding on the more emotional and material expressive works that were less present in my previous creations. This includes "Love Letter" made earlier in 2020, "Make the Building Sweat a Little" from 2019, and the latest works "Melt," "Black Mirror," and "Fragments."
 2021，07


	

	



	



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