Date: 2002-2011
Material: Porcelain
Size: Variable dimension

     At Jingdezhen, China’s capital of porcelain, people since ancient times have had a habit of smashing and dumping poorly fired pieces of porcelain. They do so in a very lackadaisical manner, leaving the shards along the river, in the street, at the door of the workshop or in rubbish heaps. 

     Here, one can find rethinking and reappraisal of history and tradition, and it is also a cultural attitude. The continuance of this behavior today, in a time with different values standards, is perhaps a superficial imitation and shallow understanding of history. 

     The reason the artist has selected this method for creating these artworks is that this material permeates all of artistic experiments. The material itself carries deep traces of history and humanity. Each new artwork brings a new experience and humanity. Each new artworks brings a new experience and wider possibilities while potentially producing purity of artistic language. 

     The plan for the artwork is to use a qualified method to reproduce a porcelain refuse pile. Beginning in 2008, the artist has been engaging in artistic experimentation based on the concept of “meaninglessness” and “emptiness of content” aimed at the social scene and artistic environment, using this to seek out a new individual creative direction and reach new heights. 

     The artistic hopes that this artwork will create a state of mind. These carefree daydreams carry new understandings and evaluations of things. Their lightness evokes subconscious thoughts, where the significance is grasped within absentminded glimpses, like the varying sentiments evoked by the falling of a leaf. One wonders how deeply they can “penetrate” the viewer?