1.《世界³》，材料来源于现成品，通过数个盲人家庭的追踪调查，发现盲人关于个人日常生活的盲文纪录，诸如菜谱、歌词、地址、电话号码、信仰、诗歌等所用纸张来源于各种不同时间段的广告、杂志、图片、日常政治文本、房地产推销书等印刷品，印刷品本身的内容恰恰巧妙地反映了在地的城市化进程。而盲文本身同纸张所印刷的信息分属两个世界，两者之间没有任何关系，重要的是这两个世界在此交汇了。

　　1 The World³. The materials are ready-made articles. During the tracking investigations on several blind people’s households, we found that they recorded their daily life, recipes, lyrics, addresses, phone numbers, religions and poems in Braille on papers which were advertisements, magazines, pictures, political texts, property pamphlets from different times. The prints themselvesshowing the process of urbanization in the local area, and the Braille on them, however, belong to the other world and has nothing to do with them. But the important thing is that the two worlds meet each other here.

　　对于我个人来说，这种言外之像，像外之言，是我创作线索的近一步延伸，所不同的是，作者从其中巧妙的隐身了。展示方式是将这些扎满盲文的印刷现成品裸贴于6.25米长、2.85米高的一整面墙上盲人可触摸阅读印刷品上面的文字记录。有视觉能力与没有视觉能力的读者各自解读分数两个世界的信息，通过这个解读过程，两个世界再次分离。

　　For me, the image beyond the language and the language beyond the image are the stretching part of my creation track, but the creator is delicately invisible. Presenting the print-outs full of Braille on the wall of 6.25 meters in width and 2.85 meters in height, audience with and without visual sense can read two separated worlds of information respectively. And the two worlds are separated again through the interpretation process.

　　《世界³》，“3”变为立方，表示“每一次心灵感知经验通过符号，都成为对同一个主题的不同表达”，即两个或多个世界交叉产生无数世界。常人感知到的是花花绿绿的视觉和印刷文字;而盲人感知到的是凸起的盲文;这两个世界同时存在，却毫不相关;把它作为第一个呈现的作品，为后面的“信息转化-重建”进行铺垫，也是希望它能作为一个线索，串联起以往的创作，即它暗喻了《言外像》“出生前”的样子。

　　The World³. “3” here represents cube, and means that “through symbol, each perception experience of mind can be another expression of a common theme.” In other words, when two or multiple worlds cross, countless worlds emerge. In this case, normal people see the colorful printed words while the blind feel the raised dots. The two worlds co-exist, though irrelevant to each other. As the first presented work, it set a steppingstone for the following process of “information transfer-rebuild”. Also, it may, hopefully, relate to former works. For example, it suggested the yet-to-be-born Image beyond Language.

　　2.《切片》，在24张用盲文纪录梦境的纸张上进行书写与描绘，然后再反复涂抹与覆盖，形成涂鸦效果的手稿。通过对所绘信息的干扰，使观者陷入观看的困境。在描绘的过程中，水、色、笔力的作用使得纸上的盲文凸点不断的损失，盲文信息也会残缺不全，使得有视觉能力的人与盲人对作品的解读都有缺失。从而使在视觉上分属两个世界的群体在某种形而上的意义上取得了平等。

　　2.Slices. I wrote and painted on 24 pieces of paper with dreams written on in Braille, and produced the scrawled drafts after scribbling repeatedly on it. The disruption of the information on the paper caused difficulties for the audience. And the effects of water, colours, and the force of the strokes would wear the dots of Braille out gradually so that the messages carried by Braille were also incomplete. By making the information incomplete for both the blind and people with normal visual sense, the two groups divided by visual sense are equal to a certain extent.

　　《切片》，通过艺术家身体行为(涂鸦式绘画)的介入，视知觉世界已经不能被完整解读了;同样盲人的触觉世界也不完整了。视觉上所描绘的内容都是人体的不同器官(有的是病态的器官)以及相对应的各种检查波线、化验单数据、相关药物的英文名称、分子结构、化学方程式。英文文字内容主要是器官的功能、作用、同盲人的关系(听觉、嗅觉、味觉、触觉)。而作品中属于触觉的部分则是我之前采集到的一些盲人表述自己梦境的凸起的盲文。这两种知觉系统表述符号的交叉重叠，暗喻人性中种种倾向，思想、味道、声音、诗性、信仰、死亡、生存、希望、恐惧、幸福、敏感、诱惑、痛苦、贪婪、脆弱等等。这些符号信息的相互转换、消解，使在视觉上分属两个世界的群体在某种形而上的意义上取得了平等和对话的可能。因为此时光凭视觉，或光凭触觉是无法完整解读这件作品所传递的信息的。

　　In the case of Slices, the participation of the artist’s actions (the graffiti drawing) make it impossible to fully interpret the visual target anymore while the haptic target for the blind is incomplete. The visual contents include different human organs (some are even pathological), and correspondingly, the wave lines, figures on inspection sheets, (English) name, molecular structure and chemical equation of the medicine. The English contents are mainly about the functions of the organs and their relations with the blind (hearing, smelling, tasting and touching). The haptic part in the work is Braille describing the blind’s dreams I collected beforehand. The crossing and overlapping of the expression symbols from two sense systems suggest multiple characters in humanity, such as thoughts, flavor, voice, poetry, religion, death, living, hope, fear, happiness, sensitivity, temptation, agony, greed, vulnerability, etc. The offset and transfer between these symbols and their meanings make it possible that the two groups divided by vision are equal and open to conversation, at a certain metaphysical level, due to the fact that either seeing or touching alone cannot lead to the complete interpretation of this work.

　　3.《B2》，大展厅由三十二张盲文检讨书组成的线性长卷式展陈方式。形式上追求极简，与空间融为一体，从观看角度来说，正常人无法解读盲文，每张检讨书为100cmX60cm，维生素B2药片组成了放大后的盲文凸点，所以盲人即使触摸作品表面也无法解读其内容，作品本身产生了无法观看与解读的双重困境;从符号意义上来看每一份检讨书都来源于真实的盲文符号，用手及身体的解读方试在这里完全失效，每一个具体的检讨在这里成为了无意义的无解的盲书。

　　B2. The exhibition hall demonstrated 32 letters of repentance in Braille in the handscroll form. The minimal form allows the work integrate into the space. Normal people cannot understand Braille only by watching. However, neither do the blind because each of the letter is the size of 100cm x 60cm and the Braille were magnified and composed by B2 vitamin tablets. The work created double dilemma of uninterpretable. From the sense of symbol, the content of each letter of repentance is genuine, but the interpreting by hands or body cannot work anymore, and the letters become meaningless.

　　《B2》呈现的是触觉世界和视觉世界在碰撞、弥散之后的均态分布，这是一种和谐相处的状态，这也可能是一个全新的知觉世界。命名为《B2》，来源于作品材料本身。如此命名的思考重点在于消除作品本来的身份元素-盲文凸起式的语言特点，避免不同的社会群体因为作品的“命名”而主动代入“盲人身份”，使作品承载过多的道德教义，让观众能直接进入“去图像化的观看和解读”阶段。不过对现在的正常人和盲人来说，这个世界都是无法被解读的，只能以审美的角度去感受。可能只有艺术，才有可能以这种方式将哲学所设想的世界呈现吧。

　　B2 manifests an even distribution of the haptic and visual worlds after clashing and dispersing. It is a harmony state and possibly, a brand new sense world as well. The title of B2 came from the material, and the point of it is to erase the original identity of the work—the raised dots of Braille, so that other social groups would directly enter the stage of “devisualised observation and interpretation” instead of putting themselves into the blind’s shoes because of the title and load the work with too much moral meanings. However, for now, the world remains uninterpretable for both normal people and the blind, and we can only enjoy it from the aesthetic perspective. Maybe only art can present the world proposed by philosophy.