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六块蛋糕
Six Slices of Cake
— 2024
作品位置：杭州
LOCATION：HANGZHOU
综合材料 | 单件尺寸 总长约40cm
Mixed media
作品位置：杭州
LOCATION：HANGZHOU
综合材料 | 单件尺寸 总长约40cm
Mixed media
这六块蛋糕是我在澳门牛房仓库个展的一部分，在日常生活中，蛋糕代表着热闹、喜庆和甜蜜，蛋糕也意味着分享、分担和分割。我想用蛋糕这个被人们都熟悉的日常事物作为载体，将人类社会日益忽视的问题隐藏其中，
当一块蛋糕被分享（割）时，问题的表面随之呈现。而那些隐蔽在表象下的“内核”，只能等观众自己“咬”下，才能品尝。这是一块块普通又不普通的蛋糕。
These six cakes are part of my solo exhibition at the Ox Warehouse Warehouse in Macau. In daily life, cake represents hilarity, celebration and sweetness, and cake also means sharing, parting and dividing. I want to use the cake, a familiar everyday thing, as a carrier to hide the increasingly neglected problems of human society.
When a piece of cake is shared (cut), the surface of the problem is then presented. The “core” hidden under the surface can only be tasted when the audience “bites” into it. This is a piece of ordinary but not ordinary cake.
当一块蛋糕被分享（割）时，问题的表面随之呈现。而那些隐蔽在表象下的“内核”，只能等观众自己“咬”下，才能品尝。这是一块块普通又不普通的蛋糕。
These six cakes are part of my solo exhibition at the Ox Warehouse Warehouse in Macau. In daily life, cake represents hilarity, celebration and sweetness, and cake also means sharing, parting and dividing. I want to use the cake, a familiar everyday thing, as a carrier to hide the increasingly neglected problems of human society.
When a piece of cake is shared (cut), the surface of the problem is then presented. The “core” hidden under the surface can only be tasted when the audience “bites” into it. This is a piece of ordinary but not ordinary cake.
《看不见的人》 Invisible Man
尺寸 Size：40 厘米 / cm． 材质Material：铝合金、塑料 Aluminum alloy, plastic． 年份 Year：2024
在成长过程中我们尝试去扮演各种角色，想要融入向往的群体之中，获得别人的关注和认可，就像拉尔夫·艾里森在《Invisible Man》里描述了这样的一个没有名字的黑人男子。我们想要成为各种“他者”，却始终在寻找自我，成为自己的过程中。
As we grow, we try to play various roles, seeking to blend into the groups we admire, seeking attention and recognition from others. Just like Ralph Ellison describes in "Invisible Man," about a nameless Black man. We want to become various "others," but we are always searching for ourselves, becoming ourselves in the process.
《永无岛》 NEVERLAND
尺寸 Size：40 厘米 / cm． 材质 Material：珊瑚、金属、矿石、鸦片罐、牙齿 Coral, metal, ore, opium tin, teeth． 年份 Year：2024
这是贯穿展览叙事的核心作品——《永无岛》。故事中的永无岛（NEVERLAND），是个充满奇迹与幻想的世界。
如果你想遇见它，你就会遇见它。想是一个过程，可能很快，也可能很慢，但一定会与它不期而遇。
这是一个关于得到和失去的故事。你在现实里失去过什么，你就会在永无岛里得到什么，而你在现实里得到过什么，你也会在永无岛里失去什么。
永无岛和现实是两个永远不一样的永恒。现实在哪里，永无岛就在哪里，你看得到它或者看不见它，它都在那里，永无岛无处不在。
This is the main work that runs through the exhibition’s narrative—“Neverland”. In the story, NEVERLAND is a world filled with miracles and fantasies.
If you wish to encounter it, you will meet it. The act of wishing is a process that may unfold quickly or slowly, but you will inevitably come across it.
This is a tale about gaining and losing. What you have lost in reality, you will find in NEVERLAND, and what you have gained in reality, you will lose in NEVERLAND.
NEVERLAND and reality are two eternally distinct realms. Wherever reality exists, NEVERLAND is there as well. Whether you can see it or not, it will be there as NEVERLAND is omnipresent.
《守护者的躯体》 The Guardian's Body
尺寸 Size：40 厘米 / cm． 材质 Material：不锈钢、蜡 Stainless steel, wax． 年份 Year：2024
《守护者的躯体》以不锈钢和蜡为媒介，通过融化、脱模、炙烤、成型，那罗延重生。那罗延形象源自作品《失衡——隐秘的那罗延》，一位力士的残肢素体上长满了植物，影像作为一种科技手段，使得单一的肢体得以延伸向更广阔的宇宙，生命也由此得到延续。而这次重生，撕开了守护者坚不可摧的躯壳，展现出他如凡人般微妙而脆弱的内心挣扎。蜡烛点燃，那罗延红色的身体一点点渗透。在光与影的交织中，守护者在守护与牺牲之间摇摆的心灵开始舞蹈，内心深处脆弱与坚韧于此交织。
Using Narayana as a medium, the impenetrable exterior of the guardian is torn apart, revealing his subtle and fragile inner struggles like a mortal. In the interplay of light and shadow, the inner dance of the guardian swaying between protection and sacrifice is depicted, showcasing the intertwined fragility and resilience within.
《新世界》 New World
尺寸 Size：40 厘米 / cm 材质 Material：水泥、树脂、橡胶 Cement, resin, rubber 年份 Year：2014
在蛋糕形态的记录与表达中，不仅有通往未知世界「永无岛」，还有来自另一个平行时空的「新世界」，这是与我们生存的地球完全不同的世界。这件作品混合水泥、树脂、橡胶等材料，以「恐龙」为对象，象征着对260万年前生物起源的追溯，而由此展开的「新世界」包含着人类故事的演变，一片连接过去和未来的新大陆浮现。恐龙望向远方的头颅，提醒着此时的我们作为「我」，作为人类问自己「我应该存在于这个新世界吗？」让我们咬一口并考虑一下。
In the recording and expression of the cake form, there is not only the path to the unknown world "Neverland", but also the "New World" from another parallel time and space, which is a world completely different from the earth we live on. This work's material mixes cement, resin, rubber and others, with "dinosaurs" as the object, symbolizing the traceability of the origin of life 2.6 million years ago, and the "New World" that unfolds contains the evolution of human stories, connecting the past and the emergence of new continents in the future. The head of the dinosaur looking into the distance reminds us as "me" at this time, as humans asking ourselves "should I exist in this new world?" Let's take a bite and think about it.
《保质期》 Shelf Life
尺寸 Size：40 厘米 / cm． 材质Material：不锈钢、旧钱币 Stainless steel, old coins 年份 Year：2024
财富拥有保质期吗？你希望这个保质期是多久？用不锈钢和旧钱币组成的「蛋糕」——《保质期》以罐头为原型，罐头如果不开封，能够保存很久很久，但一旦开封，就会加速腐蚀、变质，我们将旧钱币置于罐头中，制作了一个金钱罐头，它的保质期是多长呢，决定权在你手中。同时，钱币象征着欲望与资本，一旦开封，就会加速腐烂。
Does wealth have a shelf life? How long do you wish this expiration date to be? The "cake" composed of stainless steel and old coins—"Expiration Date"—takes canned food as its prototype. If the can remains unopened, it can be preserved for a very long time, but once opened, it accelerates corrosion and spoilage. We placed old coins inside the can, creating a "money can." How long is its expiration date? The decision lies in your hands. At the same time, the coins symbolize desire and capital, which, once unleashed, will rapidly decay.
《另一个无名的亚当-失乐园》 Another Nameless Adam – Paradise Lost
尺寸 Size：40 厘米 / cm． 材质 Material：铜、植物标本、屏幕 Copper, plant specimens, screen． 年份 Year：2024
末日荒原的废墟中矗立着一块屏幕，我们在物理世界中找寻生命的迹象，而绿色只存在于屏幕之中，数字亚当不停地在重复着自己的独白，I can be anyone，i am you！碳基生命最终会被取代吗？当我们咬下这块蛋糕的时候，AI时代的序幕已经拉开…
In the ruins of an apocalyptic wasteland stands a screen. We seek signs of life in the physical world, but greenery exists only within the screen. The digital Adam continuously repeats his monologue, "I can be anyone, I am you!" Will carbon-based life forms eventually be replaced? As we take a bite of this cake, the curtain of the AI era has already been lifted...