The diptych presents a choreography of student-made ceramic works, among which the properties and potentials differ: glazed versus unglazed; jars seem to be for everyday use versus fine art sculptures; works for exhibitions that will be taken soon versus works for practice that may be long forgotten and stay……In the artist’s view, each shelf is a unity of objects in “finished” and “unfinished” states. The overall harmony of it is founded on the opposition and discrepancy of its internal elements.

For the exhibition, the artist prints the photographs in life size on adhesive paper and applies them to the wall directly. The height of the photos is slightly taller than the average human height, which is exactly the actual height of the two shelves in the lab. Without the frames, the artist creates “a slice of space”. The two photos are like windows, opening up new space in the exhibition room. Meanwhile, objects of different materials——the ceramics in the pictures, the photo paper, and the exhibition wall——are “compressed” into one plane, unfolding a conversation between the photography and other mediums regarding materiality.