Unbearable Lightness
16 1月 2020

2018 performance

sculpture materials: cement, resin, found objects, human cuticle.

I want to express changes, the changes of the nonpermanent relationship between people and the habitat.

When my father was very young, my grandfather died. For my father, the deep memory is that his father took him to take bath and gave him rubdown in the hamam. Following grandfather’s habit, my father also carries out this cultural event which has the significance of holding the family together. It makes me sensitive to the metabolic matters from human body since young.

Personally speaking, I have a habit of seeking somewhere quiet for sustenance far from my daily surroundings. One day, I suddenly found the peeling strips from the building wall in ruins which made me feel similar with the scurf of human body. After further thinking, I found the cracked road surface, pitch and aging peeling bricks, animal bones remained, burned household articles, commodities after fire disasters, and plants growing along with buildings are just like the metabolic products of our habitats, or even the wasted building group in the social process is also the metabolized thing that cannot be visualized and accepted directly. 

China’s first playground, college campus, relic facilities, land for development, ruins covered by vegetation, the identity of land under social metabolism is changing constantly: counterrevolutionary rightist, teacher, artist, and the identity of family members also changes constantly with the time. As social components, land units and family units are all metabolizing like living organisms. Perhaps human skin peelings sound totally irrelevant with all kinds of separations in buildings, but they share common features of being metabolic, ruined and non-visualized directly. What I did was to consolidate these materials into entities in a reconstructive way, and to symbolize the various relationships between habitat and habitant in various conventional shapes according to my understanding. Human beings outmatch the environment (Pyramid shape), mutual coupling between human and the environment (mortise and tenon joint), sacred people are guarded by external factors (dagoba shape), human beings are -burdened with land (chapiter shape), human beings utilize the dwelling place (workshop shape) and human beings consumed as a general element in the natural process (altar shape). I hope to arouse the sense of existence of these discarded things through these forms with weight and meaning.

As a work inseparable with environment and human, its final state is the organic combination of human beings, environment and objects. The larger can carry the smaller and the tinier will emerge due to its conspicuous existence.