The audience sees the baby drifted within liquid—suspended, neither held nor released. It becomes unclear whether this state is one of care, slow harm, boiling, or quiet conditioning. Nothing violent happens, yet nothing is neutral. The body is not forced; it is guided without resistance.

Within this uncertainty, the infants exist in a space that cannot be entered. No intervention, no interruption. They are enclosed within a container that resembles something ordinary, even useful, while functioning as a disciplinary environment. Inside it, they do not act — they drift with the rhythm imposed from outside, a rhythm they did not choose.

观众看到婴儿在液体中漂移——悬置其间，既未被抱持，也未被放下。这种状态究竟是照料、准备、缓慢的伤害，还是安静的规训，变得难以判断。没有任何暴力发生，却也没有任何中性之处。身体并未被强迫；它是在没有反抗的情况下被引导。

正是在这种不确定性中，这些婴儿存在于一个无法进入的空间。没有干预，也无法打断。他们被封闭在一个看似日常、甚至具有实用性的容器之中，却在其中构成了一个规训性的环境。在其中，他们不行动——而是随着外部施加的节奏漂浮，缓慢地适应那些并非出自自身选择的压力。

Many silicone baby figures float in an upward-reaching posture. In this work, the audience is invited to interact and play with them. However, in the process of "playing," they may unintentionally cause the babies to "drown" — though, of course, they can also choose to rescue them.

This interaction mirrors the external forces that shape us and asks what it means to "care" or "nurture." The bathtub is a vessel of intimacy and care, and the work seeks to question what truly constitutes 'care' and 'nurturing'. Is the liquid amniotic fluid, bathwater, or a kind of institutional containment pool?

在这个装置中，我试图营造出类似那种被包裹、被环绕的感受。许多硅胶婴儿以向上伸展的姿态漂浮着。作品中的"水"由史莱姆制成，观众可以与这些婴儿互动，甚至玩耍。但在"玩"的过程中，也许会不经意地让婴儿"被淹死"——当然，你也可以选择拯救他们。

这种互动反映了塑造我们的外部力量，也提出了一个问题：什么才是真正的"照护"或"抚育"？浴缸作为容器，富含象征意义——它可以是羊水、是洗澡水，或是一种制度性安置的隐喻。

This is a sound-based interactive installation plays a loop of a baby crying. The sound will stop when someone grabs one of the hanging objects.

The urge to grab is a kind of physical impulse — an instinctive way of experiencing the world. It's something rooted in infancy, one of the earliest ways we connect with our surroundings. It doesn't rely on language, but on touch, weight, texture, and temperature — how we begin to feel comfort and attachment.

这是一个声音互动装置，它会循环播放婴儿的哭声。当观众抓握悬挂物时，声音才会停止。

"抓握"是一种身体冲动，这种冲动源自婴儿时期，是我们与周遭环境建立联系的最早途径之一。我们每个人的内心，都有一种持续的哭声，只有在抓握住某样东西时才会暂时停下来。这可能与安慰、渴望甚至贪念有关。如梅洛庞蒂所言：我们的身体与世界之间的关系，不仅仅是通过理性决策来支配的，而是通过这种更为直接和本能的互动来实现的。

Everyone who looks at the same thing receives part of the information selectively due to their own subjectivity, and this selectivity also occurs when relaying it to others. What becomes of the original truth after language has been transmitted over and over again? Does the truth we seek at the end of information really exist? I designed this work as a fun sounding board game, combining people's descriptions and conjectures, and visualizing people's language by working with instant sculpture.

每个看到同一件事物的人，都会因自身的主观性而选择性地接收部分信息，而这种选择性也同样发生在向他人转述的过程中。当语言被不断传递之后，最初的真相又会变成什么样？我们在信息尽头所追寻的"真相"真的存在吗？

我将这件作品设计成一个具有趣味性的"传话游戏"，结合人们的描述与猜测，并通过即时雕塑的方式将语言进行可视化。

This work attempts to explore the temptation of human nature under the invisible social conventions through the behavior of blind exploration in the installation.

该作品通过装置中的"盲目探索"行为，探讨无形社会规范之下人性所面临的诱惑。

People make wishes to the Buddha in anticipation of a response. They give form to what is formless, rendering it visible and addressable, and anthropomorphizing it.

This work consists of an experimental animation and an interactive balancing installation. Visitors are invited to participate in a fictional ceremony of "weighing faith," during which participants reconsider their own motivations for belief.

人们向佛祖许愿，因期待得到回应。于是给无相的佛塑上金身赋予人性，把许愿还愿视为一种交换。

这件作品由一部实验动画和一个互动平衡装置组成。观众被邀请参与一场虚构的"信仰称重仪式"，在仪式过程中重新审视自身的信仰动机。

I utilized tears as a medium to nurture a potted plant, a metaphor for Chinese parents's sacrificial rearing of their children. It was an attempt to depict the conflict between my generation and the family.

我用眼泪来培育一盆植物，以此隐喻中国父母对子女带有牺牲性的养育方式。这件作品试图呈现我这一代人与家庭之间的冲突与张力。

This work amplifies the expression of unspoken love through the act of "peeling food" and explores the relationships we encounter during our journey of growth.

这件作品以"剥食物"这一日常行为放大那些未被言说的爱意，并借此探讨个体在成长旅程中所经历的人际关系与情感联结。