The Transcended Body

dressed figure, it also represents a kind of contradiction, but that’s external and visual, and the time and motion are all formally represented. But the contradiction in this work, whether you designed purposefully or it acquired intrinsically, the splitting nature in the work does not represent itself externally and visually, but exist there inherently. It needs no explanation. Good works may all embody such contradictions; it has contradictions in the structure itself.
X: Yes, it’s quite right you use the term “structure”; I’m slowly coming to grasp it. A single piece can’t make sense of the issue, that’s why I want to create group sculptures. I’ve always wanted to deal with structure; structure means not the scene, arrangement or others of an exhibition only, it’s also the phase of growth. Perhaps because I watched more film and read more literature, I’m interest in that kind of structural relations, namely, the arrangements in narrations. It’s particularly interesting if you work it out step by step; it would be more wonderful than creation of a work like Your Body. Only I can’t yet make it out on sculpture, so I just try it at present.
H: I think the contradiction in the intrinsic structure is the basis of a good work. Take Damien Hirst, we have much misunderstanding about him; the translation of his The Physical Impossibility Of Death In the Mind Of Someone Living into Sharks is also problematic. The contradiction in that work lies in the fact that it twists together the very perceptive and biological subject with the minimalist structure. All his works have such features, including Medicine; they all combine the ultra-perception and the minimalism together, so make their structures metaphysical and analytical as well as biological and perceptive. Such contradictions rely upon no molding elements, but exist inherently. Speaking extrinsically of your works, I wonder how you understand these elements: the body, the sex, and the sensory organs. (These three aspects are easily confused, but in fact they’re totally different.) How do you regard these aspects when you are doing works?
X: Every thing you said I’d taken them into account. You’re right. Experience dominated my previous works; I was sensitive to images. Your Body is just like a long-schemed thing; there’s a larger portion of