2016, Shanghai
Straw[xī guǎn],You Won’t be Young Forever Exhibition view,
Site Specific installation
Curated by Biljana Ciric
Shanghai, 2016
Straw [xī guǎn]
Before encountering the exhibition space in person, I received only fragments—images, floor plans, and verbal impressions transmitted through curator Biljana Ciric. Within that distance, a different kind of intimacy emerged: an attempt to establish connection through absence.
Biljana once introduced me by saying, “This is An Jing. She and I have a special relationship.” That phrase became the conceptual point of entry into the work.
When I eventually entered the space, I responded not only to its architecture—the framing of the windows, the transparency of the materials, and the chromatic weight of pink, raw wood, red, and translucent blue—but also to the affective tension between presence and projection, construction and relation.
The work did not begin with a predetermined formal goal. It developed gradually, sometimes from found objects, sometimes from a feeling, evolving in parallel with the approach of the exhibition itself.
In this sense, its formation mirrors the way life unfolds for me: layered, unresolved, and relational.
I often think about why people build mazes in gardens—spaces in which the journey is structured and the exit already exists. Yet every maze may also be understood as only a fragment of something much larger: a structure without clear edges and without a complete view from above.
This work inhabits such a fragment, conscious of both its scale and its limits.
在真正进入展览空间之前，我对现场的认识只来自一些碎片：图像、平面图，以及策展人 Biljana Ciric 通过语言传递给我的印象。在这种距离之中，反而产生了一种不同形式的亲密——一种试图通过“缺席”建立联系的过程。
Biljana 曾这样向别人介绍我：“这是安静，我和她之间有一种特别的关系。”这句话逐渐成为作品进入现场的概念起点。
当我最终来到展览空间时，我回应的不只是建筑本身——窗框的结构、材料的透明性，以及粉色、原木、红色和半透明蓝色所形成的视觉重量——我更在意的是一种存在与投射、建构与关系之间的情感张力。
这件作品并不是从一个明确的形式目标开始的。它是在过程中缓慢生长出来的：有时源自某件偶然发现的物件，有时源自一种难以言明的感受，并随着展览日期临近不断发生变化。
在这个意义上，它的形成方式很像我理解生活的方式：层层累积、尚未解决，并始终存在于关系之中。
我常常想到人们为什么喜欢在花园中建造迷宫。迷宫看似复杂，却有被设计好的路径和出口。然而，每一个迷宫也许都只是某个更大结构中的片段——一个没有明确边界，也不存在真正俯瞰视角的结构。
这件作品停留在这样的片段之中，也意识着自身的尺度与局限。
Exhibition Visitors
2016, Wuhan
Quadrilateral Continuous Transparency, Pleasure Exhibition view in K11 Museum
Site Specific installation
Curated by RS_PROJECTS
Wuhan, 2016
Quadrilateral Continuous Transparency
This work continues my ongoing practice of treating materials as narrative agents.
The project began with a desire for scale. I originally imagined a field of approximately fifty structures rather than the three eventually realized. At that scale, the viewer’s body might have become genuinely spatially disoriented. In the existing work, however, that disorientation resides more strongly within the conceptual motivations behind the form.
Inspired by traditional Chinese sifang lianxu (四方连续) patterns, I lifted a repeating two-dimensional motif into three-dimensional space.
The resulting vertical structures also evoke Byzantine domes, bringing together different cultural vocabularies: the order, symmetry, and repetition of Chinese decorative traditions, alongside the verticality and architectural reverence associated with Western sacred space.
The use of ready-made materials such as acrylic functions not only formally, but metaphorically, pointing toward the layered ambiguities of place, culture, and authorship that underpin the work.
For me, the installation ultimately gestures toward something difficult to articulate: the unstable architecture of thought and artistic process itself—a kind of personal labyrinth.
这件作品延续了我将材料视为叙事主体的实践。
作品最初来自我对“尺度”的想象。原本我希望制作的并不是现在的三个结构，而是由大约 50 个结构构成的空间场域。如果达到最初设想的规模，观看者的身体会真正进入一种方向感被扰乱的状态。而在目前的形态中，这种“迷失”更多存在于作品的观念逻辑与结构动机之中。
作品受到中国传统“四方连续”纹样的启发。我尝试将原本存在于平面上的连续图案提取出来，并转化为三维空间中的垂直结构。
这些结构在形态上又隐约让人联想到拜占庭建筑中的穹顶，由此使两种不同的文化视觉语言发生重叠：一方面来自中国传统图案中的秩序、对称与重复；另一方面又带有西方宗教建筑所具有的垂直性与崇高感。
亚克力等现成材料在作品中并不只是形式材料，也成为一种隐喻：它们指向地点、文化与作者身份中不断叠加的模糊性。
对我而言，这件作品最终指向的是某种难以言明的状态——思想与创作过程本身所具有的不稳定结构，一种属于个人意识内部的迷宫。
2016, Wuhan
Dynamic Maze, Solo Exhibition view in K11 Art Center
Site Specific installation
Curated by RS_PROJECTS
Wuhan,2016
Dynamic Maze
Dynamic Maze unfolds through a tension between logic and disorder.
Components made from similar materials are clustered into zones, forming intuitive groupings. Yet these clusters meet at unregulated borders, producing a spatial field that appears erratic, even chaotic.
The work was not constructed toward a predetermined aesthetic outcome. Instead, its formation was improvised: a found component suggested the next, which led to another, and the process continued until the exhibition deadline imposed its natural conclusion.
The resulting structure is therefore shaped by impulse, accident, and temporal pressure.
I see in this process a reflection of how life unfolds: unpredictable, entangled, and unresolved.
We move through networks of relationships, events, and constantly shifting social topographies. There is no single logic and no complete map.
Like gardeners building mazes for pleasure, we often trace familiar routes toward exits we believe we understand.
Dynamic Maze, however, suggests that even these controlled spaces may only be fragments of a much larger and unknowable labyrinth—one that contains us all.
《动态迷宫》建立在逻辑与失序之间的张力之上。
由相近材料构成的组件被自然地聚集成不同区域，形成一种直觉性的分类；但这些区域之间的边界并不受到严格控制，它们不断发生碰撞，由此形成一个看似随机甚至混乱的空间场域。
作品并不是为了抵达某个预设的视觉结果而被设计出来的。它的形成更接近一种即兴过程：从一个偶然发现的组件开始，这个组件引向下一个，再由下一个继续延伸，直到展览期限为整个过程提供一个不得不停止的时间节点。
因此，这是一种由直觉、偶然和时间压力共同塑造的有机结构。
在这个过程中，我看到了一种与生活相似的状态：不可预测、彼此纠缠，也始终未被彻底解决。
我们不断穿行于关系、事件以及变化的社会结构之中，没有唯一的逻辑，也不存在一张完整的地图。
就像人们为了娱乐而建造迷宫，我们往往沿着熟悉的路径前进，并相信那里存在一个已知的出口。
但《动态迷宫》试图提出另一种可能：即使这些受控空间，也只是一个更庞大、更不可知的迷宫中的局部片段，而我们自身同样身处其中。