STONE
Year: 2022
Media: plaster, mosaic, foam board, linen
Size (cm):
22* 30* 22 (No.1);
25* 30* 24 (No.2);
12* 28* 38 (No.3);
17* 21* 52(No.4);
16cm × 20cm × 13cm(No.5);
22cm × 22cm × 28cm(No.6)
红色的河流，流动在广袤的土地，穿过沉默的、破碎的风蚀柱。
风蚀柱之所以是风蚀柱，是由于年复一年风沙的侵蚀；女人之所以是女人，不仅因为她们是生理女性，更是社会构建的结果。不管风化的岩石形态如何怪异扭曲，那也是被其所处环境所塑造。
石头不会说话，它只能沉默，但或许，沉默本身也是种态度。听不见或者看不到的事物，并不等于不存在。
—
A red river flows across the vast land, passing through the silent, broken wind-eroded pillars.
The reason wind-eroded pillars are what they are is because of years of sand and wind carving them down; the reason women are women is not only because they are biologically female, but also because they are the result of social construction. No matter how strange or twisted the weathered rocks may appear, they too are shaped by the environment in which they exist.
Stones do not speak; they can only remain silent. Yet perhaps silence itself is also a form of attitude. What cannot be heard or seen does not necessarily mean it does not exist.
Ziyi：
“一件事情被放到公众眼前，那它的发展脉络就会被所有人关注；它远离公众视线，也并不代表它已经得到了解决——它可能变成了看不见的正在发生中。也许每个人的生活对于其他人而言就是一个隐形的事件。在远离风暴式的社会舆论后，回归到日常时，大多数人的生活又会是怎样的？”
—
“Once something is placed before the public, its trajectory will inevitably draw everyone’s attention; yet when it slips away from the public eye, that does not mean it has been resolved—it may have only become an unseen event still unfolding. Perhaps each person’s life, to others, is itself an invisible occurrence. After the storm of public opinion fades and people return to their daily routines, what do most lives look like then?”