MATERIALS / 2026-10-04
Materials and the making of works
Enter through writing, images and recordings. Each source retains its purpose, version and basis for dating; later interpretation is kept separate.
Thirty-seven work and practice strands connect photography, theatre, design and writing. Existing credits remain intact; references and unclassified personal files are not presented as artworks.
Human Surrender
Keep the camera records separate from the completed film. The 5.14 collection retains individual file identities; rehearsal, discussion and later editing remain distinct.
Return to the work ↗Shixiang
The final account begins with being seen; a draft outline names the photographer as a separator and the model as an intruder. Reading the two versions together shows how a relation of looking was written into an experience.
Return to the work ↗Hallucination
Numbered source photographs show hanging rings, bodies and stage lighting. Folder dates remain source labels rather than confirmed performance dates for each photograph.
Return to the work ↗Cocoon
Source photographs and a trailer record retain different roles. Public presentation, rehearsal and the individual image are not collapsed into one finished version.
Return to the work ↗Howlers on the Rooftop
Recruitment graphics name 2 January 2021 as a planned date. They remain separate from the first-rehearsal recordings and do not establish that the advertised event occurred as planned.
Return to the work ↗Purple Action
An internal-test recruitment text describes choices within a fictional world; a spatial proposal divides activities across days. Proposals, space photographs and recordings allow the rules to be compared with their implementation.
Return to the work ↗Porphyria
The 25 June 2022 source collection and successive rehearsal days retain separate identities. Each camera segment keeps its number and technical duration; no segment is presented as the complete event.
Romance Theatre
The graphic emblem, title layout and recording are connected without treating every nearby daily-life file as documentation of the same performance.
Return to the work ↗Iceberg
Meetings, rehearsals, location work and edited films remain distinct. A meeting record can be read alongside the public poster without confusing production discussion with the finished film.
Return to the work ↗Project materials and full texts ↗
Vortex
The Vortex document juxtaposes the Beifeng manifesto, original plot, perceived problems and proposed changes. After Vortex asks what happens when a viewer becomes a performer and who carries responsibility for that participation.
Return to the work ↗Middle Party Love Rescue Guide
Public graphics and source recordings retain their separate functions. Versions carrying personal contact information remain local rather than becoming public project records.
Return to the work ↗Kill the Rose
Character biographies, an outline and the script offer different stages of writing. Fictional actions are retained as script material rather than rewritten as factual events.
Return to the work ↗The Glass Menagerie
Camera segments retain their original identities. Actor reference material, research images and performance records need separate attribution.
Animal Farm
Folders distinguish 510 recordings, the eastern Beijing location and rehearsal days. Their dates remain source labels while the group photograph has its own provenance.
Spiral Staircase
The script separates a space of consciousness from a space of reality and assigns multiple roles to individual performers. The script and the Langyuan SPACE recording directory preserve different kinds of evidence.
Encounter
The 21 August 2022 reading and introductions remain separate from the 28 August audition and try-out records. Participants and event details are not inferred from file order.
Let Time Pass
The 17, 18 and 22 August directories preserve separate rehearsal traces. Adjacent recordings provide a way to compare process without replacing it with a single edited account.
Extroverted Monologue
The 4 August 2022 directory labels a performance recording. Individual camera files are not treated as the duration of the complete work.
Happiness Kingdom
The Happiness Kingdom Is Family directory is connected to the existing work. Camera numbering identifies sources without assigning unverified names, relationships or events.
Return to the work ↗Shadow Counterpoint
Photographs retain differences between green and red performance spaces. Premiere imagery and later video versions have their own sources; photographs alone do not establish event chronology.
Return to the work ↗Old Sun in a New Day
The public announcement and the June 2023 recording directory are read together. The date of the announcement is not automatically assigned to each camera segment.
Project materials and full texts ↗
2023-06-12__新戏交流 _ 《旧太阳在新一天升起》__p4剧场和你__3edecdce7c.md ↗
2023-06-12-p4剧场和你-新戏交流-《旧太阳在新一天升起》-a2a2f211__f2a31c90d3.md ↗
Dead Object Knight
Numbered source files retain their identity. A dedicated project folder supports the association without supplying undocumented characters or narrative details.
Killing Mother
New photographs of participants sitting together return to the established recruitment text, recordings and research on dates. Plans, recorded events and publication remain distinct.
Tianmuli and Twelve Frames
The programme for Twelve Frames and Falling into Alice Lake is read with the Tianmuli recording directory. An advertised programme does not independently prove its implementation.
Tomato Pocket
Phone recordings retain their original numbers. The Tomato Pocket directory and the I Am Your Father lead are not merged into one work without supporting evidence.
P4 Theater Space
The 510 discussion recordings and photographs of the theatre space serve different purposes. Space photographs are not assigned to an undocumented event.
Return to the work ↗Shanshui
The 26 December 2011 proposal places the fixed viewpoint, photographic instant and compressed space against an experience of walking through a landscape. It questions the borders and organisation of early collage attempts. Different large-image versions provide a way to inspect those questions without treating them as the origin of all later work.
Return to the work ↗Early Photography
Early landscape photographs, graduation material and writing retain distinct roles. The graduation proposal links to Shanshui; other artists’ graduation references remain outside this public selection.
Early Collages
Central needs to be viewed as a complete image, a detail and a written account. A small overview obscures the repeated bright discs among overlapping landscape fragments. The colourful rectangular collage from Haha World is separately documented.
Return to the work ↗Twelve Water Lamps
A dimensioned structural drawing is read alongside lamp-label texts. Drawings describe a proposed construction and labels retain the original language about water and form; neither is mistaken for proof of an installed exhibition.
Return to the work ↗Poster Poems
Three Years Equals One Second arranges seconds, years and distance within one page. JPG, PDF and AI versions serve different purposes; a file extension does not establish that an editable project is intact.
Gewu Products and Spaces
Studio documents distinguish project work from artistic production and discuss parametric design, 3D printing and participation. A trophy draft retains the development of V-shaped forms, horizons and curves. The documents belong to collaborative studio practice.
Return to the work ↗Wuyuan Forest
Forest source recordings remain separate from later background films and dual-screen versions. Source segments retain their directory context rather than inheriting the duration or status of an exhibition proposal.
Recursive Media Studies
The working overview, glossary and expanded chapters distinguish reference, self-reference, reflexivity and recursion. Theoretical arguments remain separate from documentary evidence about films.
Violence Topology
The credited art-direction draft divides the work into birth, the mirror, the machine and recomposition. Live footage, references and AI versions retain separate roles.
AGT
AGT remains a candidate theoretical interface. It can organise research into action and response without proving an event occurred in the film.
Transparent Sugar and White Cloth
Transparent Sugar and White Cloth is a creative draft. Its characters, objects and emotions can enter a dialogue with research, but cannot serve as evidence of events in Human Surrender.