Objects of different functions and scales are placed in sequence on a long plinth. Each is subtly supported and rotated so that one existing straight edge aligns with the next. No object alone contains the line. It appears only across their separations, as a relation sustained over distance. The work shifts attention from the objects themselves to the condition that makes them read together.

Straight line

Four circular forms were first drawn and then repeatedly wiped away. What remains is neither the image nor its complete absence, but a residue held at the threshold of disappearance. The work treats concealment not as covering, but as a process through which visibility is weakened and reconstituted.

Concealment

Repeated units progress through incremental changes in visibility. Each mark differs only slightly from the next; seen together, they turn appearance into a measured gradient rather than a binary state.

The work asks when a thing can be said to have appeared, and at which point it has not yet disappeared.

210 levels of emergence

A corner

Plants

Seven items

Construction 04

Interdependence 05

Breaking the moon

Secluded orchid 01

Charm of virtual and real 04

A television loops an image of the sun behind a group of hanging garments, as if the virtual sun were drying them. The clothes may eventually dry, but the result does not necessarily come from the image.

The work holds visible cause and physical effect apart, leaving a space of belief, perception and misrecognition between them.

Cause.Effect

A traditional bell is replaced by a rusted industrial I-beam. Viewers may push the suspended wooden hammer to strike the steel, producing a heavy metallic resonance.

The work transfers the act of activation from ritual authority to the individual, asking what constitutes ritual once its familiar form has been removed.

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FENG YI

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