This group of works is an exploration of the material itself as the narrative subject, and it is also the development and extension of the Sharks & Self-pity series. In a sense, the material can completely replace "human" and narrate itself. The red sheepskin presents completely different contexts and states in three conditions. From the corridor to the still life, and then to the whole body connected on the wall surface, it forms a process of evolution. The skin is like a curtain at night, covering up and hide the hesitation deep in the mind, but it is also a completely exposed carrier that contacts the world and bears physical pain. Geometric lines try to break the boundaries of space and connect the uneasiness of every corner. And The bell on the plate is always ready to play the hymn for this scene of fragmentation.

这组作品是以材料本身作为叙事主体的一种探索，也是对Sharks&Self-pity系列的发展和延续， 材料在某种意义上完全可以替代“人”为自己叙述。红色的羊皮在三种状态下呈现出完全不同的语境和状态，从楼道，到静物，再到墙面被连接起来的整体，形成了一种衍变的过程，皮肤犹如夜晚的窗帘一般，遮盖和掩盖起内心深处的彷徨，但又是完全暴露在外， 接触世界，承载物理伤痛的载体。几何状的线条试图打破空间的界限，又串联起每一个角落的不安。 盘子上的铃铛随时为这场支离破碎响起颂歌。