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What does one see in this exhibition?

All works linger in our minds like the tree branches that occupy our vision. We see their entirety in our minds, entangled in a way that is full of life. The exhibition texts resemble other parts of the woods, sometimes the rustling leaves and sometimes the falling fruits.

One theory proposes that feelings don’t originate from the brain. We don’t project our emotions about a tree or a forest from our brains. Instead, we see the scene before feelings emerge.

If this theory is correct, then our perception in front of these works is comparable to a bird seeking refuge in the leafy recesses, looking for a suitable dwelling.

Every tree awaits different flocks of birds; birds chirp in all directions.

This is a reason why a forest needs to exist.

To the Public: Please Read the Exhibition the Way One Perceives the Woods (Part 2)

To the Public: Please Read the Exhibition the Way One Perceives the Woods (Part 2), 2023

Ao Jing, Morning Dew, 2023, glass, steel, motor, wood, 55 x 150 x 150 cm

To the Public: Please Read the Exhibition the Way One Perceives the Woods, exhibition view

Ao Jing, Strategies to Escape, 2023, bronze, violin / cello string, bone, wood, steel , 126 x 86 x 30 cm

To the Public: Please Read the Exhibition the Way One Perceives the Woods, exhibition view

To the Public: Please Read the Exhibition the Way One Perceives the Woods, exhibition view

To the Public: Please Read the Exhibition the Way One Perceives the Woods, exhibition view

Liu Chuang, Untitled (Fang Sheng Chair), 2016, coated steel, propylene paint, PVC, white cloth, electric fan, 56 x 45 x 90cm

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