These works share many similarities. Structurally, they all

demonstrate a kind of diffused state, yet visually they

converge at certain focal points. The first image, with its

urban landscape, immediately reminds me of materials

used in rock climbing. It suggests that the artist may be

exploring an opportunity to merge naturalistic elements

with a commentary on social conditions. To me, this piece

reflects on the “spectacle” of society—an existential

revelation of how we inhabit and perceive our

environment.

In the second group of sculptures, numerous human faces appear. This motif exists across many

cultural histories, yet the facial forms here evoke the aesthetics of the Americas—something

primal, an original beauty. The artist shapes the clay into smooth, refined surfaces, producing a

sensorial tactility. When displayed collectively, these figures remind me of Bizet’s Carmen—a

kind of silent theatricality. The work also brings to mind the ceramic pieces I saw at Marian

Goodman, though I believe this artist’s sculptures extend beyond references to agrarian

civilizations. They feel like a postmodern form of primal art. Moreover, by using different types

of clay, the artist introduces a sense of “union,” as though hinting at the gathering of different

peoples and cultures across the world.

The black sculptural work conveys a quality of black linear tension. This artist, represented by

David Zwirner, has long treated space itself as a canvas, playing extensively with negative space.

However, from a technical perspective, negative space alone does not fully account for the

work’s effect. While the materials and fabrication methods are not immediately clear, what is

directly perceptible is the piece’s persistent sense of instability—teetering yet stubbornly

resilient. Coming from my own Chinese cultural background, I associate this work with the

aesthetics of Go. It feels incredibly playful. Compared to the other pieces, this is the one I find

most compelling. The artist seems to create an internal set of rules, generating countless

variations from limited elements and forms. What emerges is a kind of silent poetry—an artistic

form of literature expressed through spatial rhythm and restraint.