在创作和制作过程中，当看到石膏模具中留着我鲜活生命痕迹的那最后一块泥稿黏土被水冲掉后；当看到被敲掉的有这独特材质感和负空间视觉效果的石膏模具时，都曾让我感受到失落和惋惜。但是，当那每件不过数千克纸质成型作品呈现在我眼前时，成品宣纸那特有的白色和材质感使作品显得格外清雅和高贵，显得格外的洁净和单纯，骨子里透出一种东方式的优雅，我为那曾赋予过她们生命而又复归于泥的二十多吨陶土，以及那破碎的数吨模具石膏感到慰藉，因为她们同我创作时的整个身心历程都共同留在了那一片片纸上，那片洁白和轻盈也留下了老庄的玄思，留下了属于我的鲜活而淡泊的生命痕迹。

　　In the whole process, I experience senses of loss and pity while the last patch of the clay of the mud draft is washed away from the plastic mold, which bore traces of a certain part of my life, or while looking at the removed plastic molds with their distinctive texture and negative space. However, when the finished work, which weights about several kilograms, is revealed, I may feel relieved for the twenty tons of clay and the several tons of broken plastic molds, aware that they have left their marks on those pieces of paper, together with all the physical and mental experiences of mine during the process. The snow-white and light surface also embodies at the same time the metaphysical ideas of ZhangXiuZhu and the fresh and simple marks of my life.

作者：张修竹