In 2021, as Covid swept across the globe, I spent a year collecting spore prints of hundreds of species of wild mushrooms in the pristine forests of Yunnan, China as an iteration of my twenty-five-year-long “Breathing Project.” Since then, I have been experimenting with various concepts by incorporating different natural elements into my artistic creations as a way to explore the relationship between natural life and human society.
2021年我在中国云南的原始森林里采集了不同品种的野生蘑菇孢子印，它是我的《呼吸项目》其中的一个主题。近年来我开始尝试借助不同的自然元素来进行艺术创作，把创作重心放在关注自然生命与人文社会之间的关系上。
The mushroom spore prints resemble individual pupils. I collaged 900 collected spore prints into a three-by-three-meter installation work, metaphorically representing the “gazing” outward of 900 pupils from the natural world upon humanity. The finished spore prints at this stage primarily consist of glass hemispheres set within a natural resin adhesive. Recently, I have begun building upon this foundation by setting the glass hemispheres within wooden boxes, akin to building for them a wooden house, since they originate from the forests and among the trees. My intention is to enhance the individualism and independence of each spore print–providing for each a “habitat” while making it more convenient for separate display and sale.
蘑菇孢子印像是一个个的瞳孔，我将采集来的900个孢子印拼贴成一幅3×3米的装置作品，隐喻900个来自自然界的瞳孔对我们人类的“凝视”。这个阶段的孢子印成品以玻璃半球和树脂胶为主。时隔五年，近期我尝试在这个基础上进行再创作，在玻璃半球和树脂胶的外围增加一块木材，就像是给它做了一个木头房子，因为它们来自于山林树木间。同时也可以增加每一个孢子印的个体独立性，更便于单独展示以及销售。
