这组装置作品起始于我在V&A美术馆采集的一个16世纪意大利铜门上的纹样，它从中心的十字纹/四（瓣）叶纹向四周的不同方向发散。有趣的是，十字纹或四（瓣）叶纹在中国的新石器时代就已经出现在陶器之上，在古亚述文明中也同样出现了十字徽纹，这可能是当时的人们表达太阳照射的四个方向或者太阳之花植物的一种符号。这种纹样的共通性以及在之后的不同国度疆域的传承、发展、变化，令我联想到人类之间的错综复杂的交流以及纹样作为一种语言被不断地交换、繁殖、生发。我将这种联想表达在了这组结合织物、动画、金属、绘画等媒介的作品之中，从四叶纹到宝相纹，再到我身边的风景，当我缕丝线一般地将它们展开时，它们可能再一次陷入混沌，有时我被这个无限的混沌空间吞噬，而有时我的思想又包裹了这个无限的空间。

 The installation began with a pattern on a 16th century Italian bronze door that I collected at the V&A Museum, which spreads out in different directions from the cross/four (petal) leaf pattern in the center.

Interestingly, the cross or four (petal) leaf pattern appeared on pottery in the Neolithic period in China, as well as in the ancient Assyrian civilization, which may have been a symbol used by the people of that time to express the four directions of the sun’s irradiation, or the plants of the sunflowers.
This commonality of patterns and their subsequent transmission, development, and change in different nation and boundaries reminds me of the intricate communication between human beings and the fact that patterns are constantly exchanged, reproduced, and born as a language.
I expressed these associations in this group of works that combine the media of textile, animation, metal and painting, from the four-leaf pattern to the Bao Xiang pattern, to the landscape around me, as I unfold them strand by strand, hey may fall into chaos again, sometimes I am swallowed up by this infinite chaotic space, and sometimes my thoughts wrap around this infinite space.