“西方文明体系建立起来的博物馆，其藏品及集中的展出方式是一种为公众提供标本的知识系统。那么唯一性、稀缺性、不可复制性等，自然成为博物馆的特质，就这点而言不论是中国的、欧洲的、还是美国的博物馆都是一样的”。

　　“做这组作品的创作、制作方式又是极具中国特色的，从临摹、摹习开始。(如书法的临帖、绘画中的《芥子园画谱》带有作坊化的制作加工等)我尤其喜欢国内外博物馆、美术馆里古典的优秀雕塑造像作品，由于太喜欢了但又摸不着、买不起、运不回来，(可理解为对时下极具商业目的，资本操作、炒作甚或阴谋的背离及反其道而行之的态度。当然也有对既定博物馆系统的消解和转换)6年前用自己独具特色的艺术语言即砖、水泥，开始了对各种造像的再造”。

　　“我上大学的西安美院雕塑系，是当时全国各大美院雕塑系里，仅有的一两所开设古代雕塑临摹及传统雕塑外出考察课的院系。西美雕塑系的课程安排使自己对中国传统雕塑逐渐有了较为深入的体悟，其实当年各大美院的教学体系主要都是以西方的教学体系为蓝本，无非是法派或苏派的区别而已。当时我们在课堂上及考察临摹的内容是：麦积山供养人、秦兵马俑头、菩萨像(也叫东方维纳斯)、双林寺金刚头像、云冈石窟浮雕等”。

　　“当时为我国历史上有这么好的雕塑造像作品深感骄傲和自豪!从雕塑史的角度来讲同学们也都为自己本民族的雕塑语言而感动，纷纷誓言将来有机会一定要好好临摹研习我国优秀的传统雕塑。现在想想自己还真就当真了，一有机会就生根发芽”。

　　“在国外的博物馆看到体量如此巨大，保存这么完好的雕塑作品时，首先是被震撼了再就是深感遗憾!想想这么好的作品身在他乡何时才能回到他的出生地自己的国家。很自然想起小时候父亲带自己去碑林博物馆指着昭陵六骏说：这里面有两匹马的原作已不在中国了，被美国人盗走了”。

　　“我近几年的创作工作就是用现代主义的生产的方式，加工制作相当数量的，用砖和水泥、钢筋为材质、原料的作品。这些作品是中国、埃及、印度、希腊流散在欧美国家的博物馆或私人藏家那的雕塑造像作品。试图使这些被我‘借用’原本在世界各地的藏品、造像重新又出现在欧美国家的展馆、博物馆，这些造像与矗立在博物馆内的原作形成一种呼应的在场感。或者是将这些我‘挪用’和‘临摹’作品再次运回埃及、希腊、印度、中国等地的博物馆，使其回归自己的源出地，希望有天能实现这个愿望!”。

Dai Yun's Caprice

　　“Museums, constructed in Western civilization, is a acknowledge system that provide the public in the way of exhibit and collect specimen.Then naturally museums' characters are unique, rare, unduplicated, etc. and at this point, no museums are different, no matter in China, Europe, or America."

　　"The creation of this series of works and the way I make them are fully with Chinese characteristics, beginning from the Linmo and imitating. (learning from the calligraphy masterpieces, < Mustard Seed Garden>, and workshop fabrication style etc.) practice of calligraphy after a model, the ancient Chinese painting manual the Mustard Seed Garden, and the fabrication and processing in a workshop, etc.). I especially love those classical and excellent sculptures in the domestic and foreign museums and art galleries. Because I love them so much but I cannot touch them, buy them, or carry them back, (This attitude can be understood as a deviation from the extreme use for commercial purposes, capital manipulation, hype, or even conspiracy and a act in a diametrically opposite way. Certainly, there are a sort of deconstruction and transformation of the existing museum system) six years ago I started the re-creation of various sculptures in my own unique artistic language, i.e. bricks and cement."

　　"At that time, among the Departments of Sculpture of all the national academies of fine arts, only a few departments, one of which was the Department of Sculpture of Xi'an Academy of Fine Arts I graduated from, established courses in copying the ancient sculptures and going out for studying traditional sculptures. For my own part, such courses helped me to gradually develop a deep comprehension of the traditional Chinese sculptures in practice. As a matter of fact, in those years, the teaching systems of the national academies mainly learned from either France or the Soviet Union. What we studied in class included sponsor sculptures in Maijishan Grottoes, head sculptures of Terra Cotta Warriors of Qin Dynasty, body sculptures of Bodhisattva of Tang Dynasty (only body left, also known as the Eastern Venus), head sculpture of Buddha's Guardian of Shuanglin Temple, and relief of Yungang Grottoes, etc."

　　“At that time, I was so proud of such great statues in ancient Chinese history! From the perspective of sculpture history, my classmates also moved for our own national sculpture language, and all made a pledge that we would try our best to copy and study our excellent traditional sculptures if an opportunity arose in the future. Now when I think about this, I find that I really take it seriously, and indeed, the ideal come into practices when opportunity arrived."

　　"When I saw a huge number of sculptures still remaining intact in the foreign museums, I was shocked at first, but then deeply regretful! Think about this: such great works are stranded in strange countries and no one knows when they can go back to China, to their birth place. I still remember, naturally, that when I was a child my father took me to the Stele Museum of Xi'an, and pointed to the Six Steeds of Zhao Mausoleum, telling me that two of the six originals were not here actually, because they were stolen and shipped to USA.

　　"I have been creating a certain number of works in bricks, cement, and rebar in a way of modernism in recent years. These works are based on Chinese, Egyptian, Indian, and Greek statues collected in the museums or by private collectors in the Europe and America. I truly hope, one day, that these works is on display in the museums where the originals are collected, so that my works and the originals can echo each other in a sense of presence, or, that the originals I appropriated and copied can return to the museums in Egypt, Greece, India, and China, to their birthplace. I sincerely look forward to the realization of my desire."