在我的生活中每天一成不变的接触就是床和卫生用品，因此也就对这两样东西有着特殊的不变规则和喜好。

 

  　卧室要是个能够容纳足够空气和干净明亮拥有柔软的床的立方体；而用来接触我身体各个外露器官中最脆弱柔软和敏感部位的卫生纸、卫生斤、卫生护垫、餐巾纸也要是最柔软最有口碑的品牌，才能给予我心理上最大的安全感。

 

　　但无论这些卫生用品有多柔软、多超薄、多“无感”，都只是开始的时候，之后就根本没去在意这种舒适度，完全成了功能性的女性用品；就像床，一旦进入睡眠状态她也只是个功能性的载体了。所以我用一个我最在意的柔软与超薄安全感制造了一个我同样在意的舒适感。把“舒适”“安全”编织在一起，放大了编织品的局部，这个乍一看功能性的卧室其实是个“没问题”的一次性观赏玩具。
 
Tang Yuhan

 

The things that are constant in my everyday life are my bed and sanitary products.
Therefore, I have special unchanging regulations and love for these two things.
 
The bedroom is a cube that can contain sufficent air and a bed that is clean, bright and comfortable. The toilet paper, sanitary napkins, and toilet seat covers come into direct contact with the most fragile and sensitive organs, they should also be the softest and most renowned brand ; only then would I feelI psychologically secure.
 
No matter how soft, thin, or ‘immaterial’ these sanitary products are, it is only at the beginning that they are noticed. After a while, such a degree of comfort is taken for granted and the products become only functional woman’s necessities . Like the bed, once one is fast asleep, it becomes a functional carrier. Therefore I am using a softness I care the most with the thinnest sense of security to produce a comfort with the same degree of care. Weaving ‘comfort and, in this case would I psychologically feel secure.

 

No matter how soft, thin, or ‘immaterial’ these sanitary products are, it is only at the beginning they are noticed, after a while, such degree of comfort become ignored, and completely becomes functional among a woman’s necessities ; like the bed, once one is fast asleep, it becomes a functional carrier. Therefore I use the softness I care about the most and the thinnest sense of security to produce a comfort that I also care about. Weaving ‘comfort’ and ‘security’ together, enlarging the details of the textile ; this bedroom that appears functional in the first impression is actually but a disposable ‘no problem’ plaything.

 

柏鸣
 
角

 

　　你看到运动的字还是表演的人？
　　写哭而言笑，分合难辨；
　　戏里的生旦净末丑，
　　戏外的喜怒哀乐愁。
　　入戏而成角儿，
　　都在这一颦一笑，一举一动里。
　　面相十二宫，命宫，财帛，兄弟，儿女，妻妾，疾厄，迁移，奴仆，官禄，田宅，福德，父母，是命运控制了行为，还是行为主宰了命运？
　　角儿，人。

Bo Ming
 
Role
 
Do you see words in motion or someone performing?
Writing sadness but speaking laughter, difficult to distinguish
On stage, they are Sheng, Dan, Jing, Mo,and Chou [5 roles in Chinese drama]
Off stage, they are happiness, anger, sadness, joy, and anxiety.
As one becomes part of the drama, one becomes a role
All are reflected through expressions and actions.
There are twelve domains on the face: life, wealth, sibling relationships, children, wife, sickness, dislocation, servants, officialdom, property, happiness and mores, and parents, does fate determine behavior, or does behavior rule over fate?
 
张一
 
　　小学时有篇课文叫做《琥珀》，讲一只几百万年前活生生的虫子，瞬间被一滴树脂凝结成琥珀出现在现代人面前。我一直对此印象深刻，因为琥珀里的东西冷漠而孤寂。

　　我把自己的照片和自己的芭比做成琥珀。当真实的我看琥珀里的我时。同样是近在咫尺，又仿佛隔世。活生生的我就困在里面，时空错位又并存。这件作品是个游戏，把我从自己的生命里抽离。
 
Zhang Yi
 
“Amber” – a text in my elementary textbook, told the story of a bug a few million years ago. In an instant, it was covered by a drop of resin which solidified into amber and then remained unchanged to the present. This left me with a deep impression, because that which is in the amber is apathetic and lonesome.
 
I took my own photograph and a Barbie doll and put them into amber. When the actual me looks at the amberized self, despite the proximity, there is a feeling of being separated by many generations. My living self is trapped inside, time is dislocated yet coterminous. This work is an amusement, abstracting myself from life.