4 inspiring works

I think the following works are not so related to my work in its form but are also inspiring for me in a bigger context.

QIWU Thinking of Zhuangzi

In QIWU, he talks about how wind sound is like human sound with different characteristics shown by human beings. The precipitous forest and the holes in the whole body of the tree are shaped like noses, open mouths, ears, long flat hairpins, protruding coils, shallow pits, some shallow, some deep; Then the sounds were quick, some like whistling arrows, some harsh, some sucked in, some went out, some like howling, some like barking, some like crying. The motion of the energy flow is slow and pleasant, but it is strange that it becomes noisy with the noise made by various objects.

This book inspires me about how human sound and natural sound are similar to each other.

The Gulf Project by Wael Shawky

This is a sculpture I have seen in Lisson Gallery in Chelsea in New York. It is part of ‘the gulf project’ done by Wael Shawky.

The sculptures are presenting an important moment in Egypt’s complex history, it hopes to draw attention to local collective beliefs, from religion to the historical record.


I like the sculpture very much and I like the way that these works are organized and come together to give me a strange atmosphere for my understanding. I think it also inspires me about how my works could come together and tell a story.

Margot’s Cat by Arthur Ganson

The dollhouse chair seems to be the perfect object to bounce nearly weightlessly over the unsuspecting cat. In this machine, the chair is passive and all motion is due to interference by the cat. The large disk at the back serves to both counterbalance the arm and give more mass to the chair itself. The motion of the chair is complex and will never repeat.
I think it inspires me about how mechanical movement can tell an interesting story.

The Ground by Tarek Atoui

“The GROUND”, 2018, by Tarek Atoui is the result of travels in China’s Pearl River Delta. During this time, the artist recorded his observation of contemporary and traditional agricultural, architectural, and musical practices from the region. He later asked craftsmen and instrument-maker to respond to his notes and drawings. The resulting instruments were set up by Atoui to play separately and autonomously at the exhibition, where various artists and musicians are invited to respond to the forms and sounds of the work.

I think it inspires me how to use a unique form and sound to trigger an ancient culture feeling.