In the exhibition of The illusion of sensation, the work explores its titular theme, presenting fantasy as an ineffable and mysterious presence. Though illusion may evoke happiness, it remains as empty and futile as attempting to scoop the moon from the water.
Here, “ink” embodies the flexible, life-giving philosophy of the East,symbolizing carbon-based vitality and natural rhythm. “Crystal, incontrast, represents the hardness, transparency, and order ofindustrial modernity-silicon-based, rational, and at times disciplinary.Their juxtaposition creates not confict, but a poetic balance-aninaugural moment in my exploration of Material Ontology, wherematerials are not passive supports but active agents carrying culturalmemory and expressive agency.

在这里，”墨”了东方灵动并孕育了生命的哲学，象征着碳基的生命力与自然律动。相比之下，”晶”则体现了工业现代性中的坚定、透明与秩序一一它是硅基的、理性的，甚至有时带有规训的含义。二者的并置引发了冲突，从而达成了一种诗意的平衡一一也是我探索”材料本体论这”(物质本体论)本体)的开端。在此语境下，材料不再是载体的载体，而是承载着文化记忆与表达能动性的主动主体。