《日常·易碎》2003年在第50届威尼斯双年展中国馆展出

　　《日常·易碎》Regular·Fragile(2002-2003)

　　名称Name:日常·易碎Regular·Fragile

　　材料Material:瓷Porcelain

　　作品尺寸Size:可变尺寸Variable dim

　　创作时间Date:2002~2010

　　在创作彩塑系列作品的同时，2000年开始产生了想与之完全不同的方式来进行实验，整个计划到2002年7月开始在昆明和景德镇两地实施，材料是青白瓷。在今天，生活到处都表面充满丰富过剩、急速变化的过程中，“单纯”、“纯粹”似乎都远离了人们的视线和向往的意境。用这些我们生活中熟悉的现成品翻制，又通过青白瓷材料高温烧制的物品，都是人们非常熟悉和留恋的，在转换了一种方式后，不同的环境、不同的空间、不同的置放组合方式、不同的观者经历给人又产生截然不同的想象、快乐、痛苦、兴奋、梦幻、隐秘、恐惧等。同时瓷的特点是表面坚硬、又特别易碎、易裂，这意味着现实中各种方式和幻想都不可能长久，人们永远生活在一种不知结果的情景和虚幻的心态里……

　　When creating painted sculpture series in 2000, I came up with a plan to experiment with a completely different approach. In July 2002, I started my experiment with bluish-white ceramic in Kunming and Jingdezheng respectively. Nowadays, in a life that is full of apparent superabundance and rapid transformation, it seems that “simplicity” and “purity” as virtues have disappeared over horizon and are no longer what people are trying to achieve. .Using familiar items used everyday life as models, I reproduce them using high-temperature fired bluish-white ceramic. These are the items people are very familiar with and to which they are emotionally attached. However, after making the transformation, it creates a different background, different space, different placement and combination, and different viewing experiences, thus provides different feelings and imaginations, such as happiness, anguish, excitement, illusion, mystery, fear, and etc. Moreover, although the surface of ceramic is hard, it is also fragile, which indicates that all the forms and fantasy in the real world will not last forever. Therefore, we forever live in a world full of uncertainty and illusions.

　　《水中倒影》Shadow in the Water(2002-2003)

　　名称Name:水中倒影Shadow in the Water

　　材料Material:青白瓷\灯光Bluish-White porcelain \ light

　　作品尺寸Size:1200*50*8 cm

　　创作时间Date:2002—2003

　　中国在上世纪90年代以来，进入了一个前所未有的高速发展期，巨大的变化渗透到各个领域空间，经济、社会、人文、文化、思想、观念等等，但我们不知道这巨大变化的背后意味着什么?

　　每天，我们只感觉到城市越来越大，楼房越来越高，高楼也越来越多，曾伴随着我们成长并深深烙下记忆的老房子越来越少，新建筑越来越一样，城市也越来越没特点，人们每天在频繁的嘈杂声中匆匆移动，一个全新的空间，全新的生活方式，全新的时空概念，全新的时代，所有这些，仿佛使人生活在一种虚幻的现实当中而找不到南北……

　　这组作品的题目是“水中倒影”。作品的图式是用目前中国上海、北京、广州、深圳这些都市化进程节奏非常快的城市建筑组合而成，在创作中有意把一组组相同的建筑拷贝下来，组成一个庞大的且无节制的“景观”(可根据不同的空间和尺寸来延伸)，我认为我们今天生活的城市处于追求达到一个高速指标的发展而忽略创造性的年代，城市化的模式在追求表面的国际化大都市进展中不断的复制、复制……造型用白瓷来完成，与之组合的灯光投影给人产生虚幻的海市蜃楼感，与现实生活产生一种距离。

　　Staring from 1990s, China has been experiencing a phase of unprecedented rapid economic development. Enormous changes have been taking place in economy, social sciences, humanities, cultures, mentality and ideology, almost every corner of the society ,. But we don’t know what all these changes will bring to us ultimately.

　　What we can feel is that on the daily basis the cities are getting larger and larger, the buildings are getting taller and taller, with more and more skyscrapers. On the contrary, the traditional houses that have accompanied us and have carried our memories are fewer and fewer. Cities are losing their distinctiveness, when the new buildings become more identical with each other. Everyday, people are hurrying in a hustling and bustling world, which demonstrates an entirely new space, a new lifestyle, a new time-space concept, and a new era, all of which make people feel like they are living in a virtual reality, and therefore get lost.

　　The series of works is entitled “Reflection in Water”. The schemata of these works are based upon the combination of urban architectures in those Chinese cities which have experienced fast urbanizing rate, such as Shanghai, Beijing, Guangzhou and Shenzhen. In creating these works, I intentionally made copies of those identical architectural groups, and created a huge landscape which can expand infinitely based on the size of space available. I believe that we are living in an era in which the cities are developed with absolute rate of economic development with the ultimate goal, while creativity is conveniently ignored. When trying to construct the so-called “international metropolitans”, the same city model is being replicated over and over again… The model is made in white ceramic. Combined with light projection, it creates a hallucinating and mirage-like effect, which keeps the realistic life at a certain distance.

梦想（Dream），2005-2006，,青白瓷、投影（White porcelain & DVD projection），可变尺寸（Variable dim）(请标明：作品摄影Luke Tan)

　　《梦想》Dream(2005-2006)

　　名称Name:梦想Dream

　　材料Material:青白瓷、投影White porcelain\DVD projection

　　作品尺寸Size:可变尺寸Variable dim

　　创作时间Date:2005~2006

　　2003年1月美国“哥伦比亚”号航天飞机在返回地面途中失事，世界震惊。联想到自人类登上月球以来所发生的空难事故，这使人们清醒的看到了为探索宇宙太空奥秘所必须付出的极大代价。同时人们在过分依赖于高科技发展中，它非常脆弱、易碎的另一面也暴露无遗，它提醒人们，任何事物在它的发展过程中都会具备两方面的性质。

　　In January 2003, the American space shuttle Columbia exploded while re-entering the earth’s atmosphere, shocking the whole world. It brought o my mind the many aviation catastrophies since man first landed on the moon. We have paid too high a price for exploring the mysteries of space and man has trusted too easily in scientific and technical developments, whilst these achievements remain unreliable. We are now starting to realize that there is an up side and a down side in the evolution of all things

　　《你能告诉我吗?》Can you tell me?(2006)

　　《义乌调查》Yiwu Survey(2006)

　　名称Name:义乌调查Yiwu Survey

　　材料Material:装置Installation

　　作品尺寸Size:可变尺寸Variable dim

　　创作时间Date:2006

　　二十多年前谁也不会想到，中国经济发展到今天已经成为影响世界宏观经济的重要因素，并对世界经济发挥着广泛而深刻的影响。义乌正是中国特有经济发展模式的一个典型缩影。义乌制造和聚集的商品已辐射到世界212个国家和地区，每天有6000—8000个外商在义乌采购商品，每天直接从义乌运出的外运货柜(集装箱标柜)多达1000多个。然而义乌的现状又不能简单的把它归纳为一个小商品批发集散地和加工出口地，这些只是一个表症。它浓缩并体现了中国在新社会改革时期与世界对话所产生的无法预测的所有复杂因素。所有商品的设计在实用性与大众美学、流行文化和低成本、低耗材料加工、廉价密集劳动力生产方面找到了最完美的结合，是通俗美学最具典型的代表。也涵盖了中国在新的社会转型中最具丰富的社会形态学。正是有中国的这些廉价商品才使世界经济降低了通货膨胀率，并引起了劳动力、资本、商品和资产的相对价格发生改变，廉价出口商品抵消了油价大幅上浮所引起的物价上涨，与社会、家庭、个人发生关联，影响到人们日常生活的情趣和心态并长久的持续下去……作品只是通过最简洁、最直接的方式把复杂的社会学现象呈现在大众面前，并期望能带来更深入地探讨。

　　More than two decades ago, no one ever wondered that Chinese economy would have influenced the world’s economy so greatly, and would have been exerting a persistent and far-reaching impact on it. Yiwu is such a typical epitome of thedevelopment mode with Chinese characteristics.The commodities that are produced by or converge at Yiwu have reached 212 countries or regions all over the world. Each day witnesses 6000-8000 foreign businesspeople purchasing goods, and over 1000 outbound containers (standard) directly departing from Yiwu. However, you cannot just translate Yiwu into a centre for commodity wholesaling and converging as well as exported goods processing according to its current situations. All of these are just a representation. Yiwu itself represents all the unexpected complexities which occur in the dialogue between China during its new social reforms and the world. The perfect combination of functionality and popular aesthetics, of popular culture, low-cost and low energy consumed materials processing and labor intensive production can be found in all commodity designs, which are the most typical representation of popular aesthetics and embody the richest social formations of China in the new social transition. It is these cheap goods from China that decreases the global inflation and alters the relative prices of labor, capital, goods and assets. The cheap exported goods offset the price increases caused by the skyrocketing oil prices, and thus they correlate with societies, families and individuals. These goods have affected the public tastes and sentimentalities and will continue to do so in a long run …Works are merely intended to present complicated social phenomena before the public through the simplest and most direct means and expected to bring further explorations.

　　《我的24小时持续妄想症》My 24 Hour Continuous Paranoia(2006-2007)

　　《出口-货物转运》Export -- Cargo Transit(2007)

　　《虚假的场景-上海地图》The Virtual Scene(2009)

　　《地平线》Horizon(2009)