Jiang (Jiehong): Based on the experience of our previous cooperation, I think your works can be divided into two types. One type concerns works like Celebration, Await, and Rise, which were included in the exhibition tour of “Collective Identity” shown in Britain and Hong Kong; the other type refers to your work The Last Judgment in Cyberspace, which was on show in an exhibition entitled “View Beyond the Window” in Birmingham. We made transparency boxes for your works, using sunlight from outside the exhibition hall. Its background is an 18th century church in central Birmingham, and the two formed an interesting corresponding with each other. I also wrote a short comment on your solo exhibition of The Last Judgment in Cyberspace in Australia. The Last Judgment in Cyberspace differs from your previous works in both creative thinking and route. If your previous works manifest more or less a kind of record of reality or exaggerated “reality of urban material mechanics” that in a sense blur the distinction between “news photos” and “modern art”, then your The Last Judgment in Cyberspace seems to have leapt across into another space of thinking where you can display your talent freely in as many ways as you wish.
　　　　Your new work H2O is apparently an extension of The Last Judgment in Cyberspace as far as its means of production is concerned. Let’s talk about this H2O from two perspectives: One is its theme and the other is its execution process. Firstly theme. If ten artists are asked to write a composition with water as the theme, they will produce ten compositions with different contents. However, very few artists have ever considered water from the angle of the study