H: I still want to know what’s your age at that time?
X: It’s only one year ago.
H: According to you, which work in that exhibition is symbolic of your maturity, or is it the whole exhibition?
X: Perhaps we should call it “transcendence”; I believe the whole exhibition transcended my former state. For an artist, one or two pieces can’t represent him; for most probably he would perform exceptionally well on one or two pieces and they’re uniquely excellent, but surely only creation of a series or a group of them could make sense of the whole matter.
THE TRANSCENDED BODY
H: But I think your works in that exhibition belong to two entirely distinct types.
X: You’re right. But those two distinct types were actually two different ways of narration, or two formulations; essentially, they mean the same thing.
H: I believe the groups of people you described – who dress formally and have social status, still have more affiliations with your previous ones. Personally, I think the work Your Body marks a turning point.
X: Definitely! One hundred percent sure!
H: She removed many elements, elements of youth; but removal doesn't mean there's no such a subject but mean the whole approach changed. You regard the whole exhibition as a turning point, but I believe this piece is more critical, even another piece of nude – And You? can't compete with it. For in And You?, there's still elements of narration.
X: I did And You? after I did Your Body. I wanted to transcend something in Your Body; I succeeded or not, different people might have different ideas. But for me, it meant a huge difference. It's often the case — even in our daily life — the sort of expression you look for can't be spoken out clearly, but if we gather strength and express it, it's a progress. When you can express it out and loud,, then you've also jumped over the obstacle. Your Body came really out of my instinct and nature; I accumulated knowledge and experience to that extent and produced such a work with so much effort, but I have always wanted to transcend it.