“弥漫”这个展览整体思路挺有意思。我认为“中药”并不仅仅局限于治病救人层面的“药”的层面，它更是中国人对于事物的一种认识方法。因为中药与西药关于治病的概念不一样，中药的精髓在于疏通与调理，这是不同文化背景下的具体差异。

　　The overall concept of this “Permeation” exhibition is quite interesting. I think that “Chinese medicine” is not merely curative “medicine”, but a Chinese method for discerning things. That is because Chinese medicine and western medicine have different notions about the treatment of disease. The essence of Chinese medicine is therapy and the restoration of flow. This is a specific difference deriving from differing cultural backgrounds.

　　我的作品是一个很小的手拉坯的陶罐，口非常小，这个小“器物”没有任何的特征和线索，当我们去表述它的时候，可能用“陶罐”、“器物”、“埙”(因为它可以吹，并且发出声音)来形容它，但是在制作的时候，我反复跟那些师傅说：做完之后，让人不知道它是干什么用的，因为它没有一个具体的用途，其实它本身什么都不是。在展览现场，我会将它们堆放在地上，如果有人感兴趣就可以拿走，他可以吹着玩或者什么也不做，仅仅作为一种纪念。这个东西就会通过不同的人被传播，你也不知道它们最终会在什么地方，有的人可能就给砸碎了，有的人或许当纪念品一直留着，那么味道就一直在里面。

　　My work is a small, hand-spun ceramic jar with a very small mouth. This small “implement” has no particular traits or threads. To describe it, we could use words like “jar”, “vessel” or “whistle” (it makes a sound when blown), but when it was being produced, I repeatedly told the craftsman, “when it is finished, I don’t want anyone to know what it is for.” Since it does not have a specific use, it isn’t really anything at all. At the exhibition site, I will pile a bunch of them up on the ground. If they want, people can pick one up and take it home. They can play them if they want, or they can do nothing with them, keeping them merely as souvenirs. These things will be spread around by various people. You don’t know where they might end up. Some people might smash them, some might keep them as souvenirs, but they will all retain that aroma.

　　回到最初的问题上，这件作品又和“弥漫”的主题和“药”有什么关系呢?其中的联系就在于这件小器物会散发出一种味道，正是这种能够清楚地被感知，但是又看不见摸不着的味道让它变得有意思。玄机就在于我在制作的时候加入了一些让它产生气味的材料，于是，这种让人闻起来很舒服的味道如同一个秘密一样，从这个其貌不扬的物件中透了出来。当你从小口透进去看，里面的空间里空无一物，如果你非要想知道这究竟是什么味道，你可以把它砸碎，但是砸碎之后，这个器物本身就没有了，我的这个作品也就消失了。这是东方人看待事物的角度和态度。我之所以选择用这个作品跟观众进行交流，实际是想最大限度地去呈现我们自身的一种经验。另外，我给它赋予最朴素的外观，就是一个粗陶制品，而且如果发声，也带有埙的那种古朴浑厚的特质。

　　To get back to the original question, what does this artwork have to do with the “permeation” theme and “medicine”? The connection lies in the fact that this small vessel emanates an odor. It is this clearly perceivable yet intangible odor that makes this object interesting. The trick is that during the production, we inserted a material that creates a certain odor. This comforting aroma seeps out of the unassuming object with an air of secrecy. When you look inside, the jar is completely empty. If you really want to know what produces this smell, you can smash the jar, but then the object is no more, the artwork has vanished. This is the perspective and attitude through which easterners view things. The reason I chose this artwork for engaging the audience is because it was the best suited for presenting an experience of mine. Also, I gave it the simplest external appearance, that of a rough jar, and if it makes noise, then it also has the unassuming qualities of a whistle.

　　我把这个作品的中文名字叫作“器”，就是陶器和器皿的“器”。我觉得任何事情都包含着“器”的概念，它都有一个壳和里面内容的关系，也就是事情的两个方面。这次英文标题的翻译也很有意思，我并没有取“器”的直译，因为汉字的可解读和阐释的空间太大了。相比较宽泛的有些不着边际的“虚”，我反而更喜欢这种特别实的东西，比如一个杯子，我宁愿它呈现出来就是一个杯子，但这并不妨碍杯子可以包含其他的意义。因此我采用这种翻译，也是希望通过它来揭示这个作品本身的一个意思，并且让见到这件作品的人，和拿走“作品”的人注意到我的这种用心。

　　The Chinese title for this artwork is “vessel” (器). I think that anything can be included in the concept of “vessel”. All vessels have a relationship between their exteriors and their inner content, i.e. the two aspects of everything. The English title for the artwork is quite interesting. I chose not to use a direct translation of the word “vessel”, because there is too much room for interpretation in Chinese characters. As opposed to vast, cerebral concepts such as “emptiness”, I rather prefer more solid things. For instance, with a cup, I would rather present it simply as a cup, though that does not prevent it from containing other meanings. That is why I chose this translation for the exhibition. I did it in hopes of revealing a meaning within this artwork, and to make viewers and takers of this artwork aware of my effort.

　　“没有事情是看不见的”，这实际在说隐藏在陶罐里的秘密。另一方面，这个英文名字几乎代我阐明了我作品的一个意图，即：世界上并不存在秘密。为什么这么讲?这种气味好像一个秘密一样隐藏在器物内部，但是通过它散发的气味我们又明确地感知到了它，并且这种作用于嗅觉的气味和可视可触摸的器物融会，他们于是实现了混杂而难以拆分。

　　“All things are visible” is an allusion to the secrets concealed within the jar. Also, this English title basically explains one of the intentions of this work, namely that there are no secrets in this world. Why would I say that? This aroma is concealed within the vessel like a secret, but through the aroma it emanates, we can clearly perceive it, and thus the odor that is perceived through the sense of smell, and the tangible object that is perceived through sense of touch have been inextricably fused together.