作品的灵感源于上海的城中村。这些城中村是一种自发建造的非正式居住形式。尽管受到了空间和居住条件的限制，居民们在很大程度上能够调动智慧和创造力来解决各种问题。一系列因地制宜的生存战术应运而生，从用于改造空间的材料到最终实施的技术手段，都积极回应着周遭生活环境的变迁。

This piece is inspired by the urban villages in Shanghai. These urban villages are a form of spontaneous, informal housing construction. Despite facing constraints in terms of space and living conditions, residents demonstrate a remarkable ability to mobilize their resourcefulness and creativity to solve various challenges. A series of adaptive survival tatics emerges, responding actively to the changes in their surrounding living environment, from materials used for spatial transformation to the techniques ultimately employed.

我被居民们的日常“凑合之道“所吸引，并开始思考这些建筑称为雕塑的可能性。这些房屋虽是功能性的，却溢发出功能性以外成为雕塑的特质 (形式、意图、人的行为等)。因此在创作初期，我结合田野中采集的图像和在地拾得的材料进行了实践，试图将城中村的地景抽象转化为雕塑。

I am captivated by the residents' everyday "making-do" approaches, and I am wondering if it is possible for those buildings to become sculptures. Although these residencies serve functional purposes, they exude qualities and possibilities that go beyond functionality, akin to becoming sculptures (form, intention, human behavior, etc.). Therefore, in the early stages of my practice, I combine photos taken in the fieldwork with locally found materials, aiming to represent the urban village landscape.

在雕塑的载体上，我使用了大量废弃的塑料泡沫。它们作为城市里不“好看”却常见的材料，广泛地被用于运输和保鲜，在现有的市场流通中呈现出较低的剩余经济价值。比起纸板箱、木箱、塑料筐等其他材料的容器，它们更易被丢弃。但在城中村里，它们似乎变得“体面“，不再受制于审美的评判和拣选，成为回收和利用率很高的一种在地材料。

On the material, I utilized a significant amount of discarded styrofoam. Despite being considered visually unappealing, it is a common material in the city, widely used for transportation and preservation. Within the existing market circulation, it exhibits relatively low residual economic value compared to other materials such as cardboard boxes, wooden crates, or plastic baskets. These foam materials are more easily discarded. However, in urban villages, they seem to acquire a certain "dignity," no longer constrained by aesthetic judgments and selection. Instead, they become a locally sourced material with high recycling and utilization rates.

因此我好奇：当一个事物在市场流通的经济价值、实用价值及审美价值等各方面都降到很低的状况时，它还有什么存在的价值？当这样的物件仅仅作为被观赏的对象，被重新定义，甚至再次被赋予价值的时候，它所能展现的是什么？

Therefore, I am curious: When an object's economic, practical, and aesthetic values are all diminished in the circulation of the market, what other intrinsic value does it hold? When such an object is redefined merely as an object of contemplation, or even when it is revalued once more, what can it reveal?

除此之外，塑料泡沫不仅在剩余价值上和城中村有着相似性，在物理属性上也共享着“可塑性强”“脆”等空间上的特质。因此我在泡沫盒、泡沫箱、泡沫板等形态各异的载体上进行了“空间的实践”，城中村的肌理和灵活多变的空间结构，进行对象化抽离，予以重塑，为自发性空间提供一种新的观看视角。

In addition, styrofoam not only shares similarities with informal settlements in terms of surplus value but also exhibits spatial characteristics such as high plasticity and precariousness. Therefore, I experiment with "spatial practice" on various forms of carriers like foam boxes, foam crates, and foam boards. I objectified the texture of the informal settlements and their flexible and dynamic spatial structures, reshaping them to provide a new perspective for observing spontaneous spaces.