There are multiple meanings to the word “Butterfly”. It could be the “butterfly effect” discussing chaos and power, the “Zhuangzhou Dreaming Butterfly” telling the story of reality and illusion, or the most romantic bones “scapula”, symbolizing love, dreams, soul, etc. I decided to name the exhibition “Butterfly” because, when I was looking at one of the art pieces distractedly after finishing it, the scrawled word “Butterfly” materialized in my empty mind. In a style of vigorous calligraphy, the “Butterfly” is thick like muscles, angular like bones, bluntly and firmly.

Titanium gold stainless steel plate, measuring 1.22 meters in width, 2.44 meters in length, and 0.75 millimeters in thickness, is the primary material used in this series of works with common specifications in the steel market. The only way to carry such a steel plate by yourself is to pinch the same edge with your thumb and the other four fingers (the little finger cannot be lifted), then hold your breath, straighten your waist, and simultaneously elevate it with both hands. Do not try to embrace it all at once; it will collapse and wrap around you like a drunkard, preventing you from using your power and escaping. It is excessively soft and flimsy, with no hard-core image of steel.

Let’s discuss the modeling method, which is electric welding. It is incredibly easy to operate; all you have to do is switch on the electricity to start welding. It is quickly formable and may be welded, fractured, cut, and molded. While there are many benefits, there are also clear drawbacks. The object will experience noticeable color changes due to the high temperature of the solder joint, and it will deform due to the temperature differential between melting and quick solidification. Excellent artisans with obsessive-compulsive disorder will avoid these issues and conceal the signs of welding as if nothing had ever happened. However, the most important aspects of my works are the vividness and vibrancy of the colors, as well as the uncontrolled deformations.

After being subjected to the excitement of electric welding, the thin steel plate lying flat on the ground twisted, buckled, and warped unpredictably. The chaotic patterns evolved into concrete support structures, the drunkard into a robust man, and the steel plates became upright!

Returning to the subject of sculpture, the thin steel plate is obviously not one. It may be thought of as a two-dimensional plane, powerless and shapeless. The steel plate, which is upright and twisted, provides a sturdy supporting framework and takes up three dimensions, creating a sculpture. It makes no difference whether the twist is visually appealing or unpleasant to behold. In sculpture, vision should never be the last word or the definitive response.

Specific structures are what sculpture uses to exhibit “force,” and sculpture itself is the “force” that these specific structures make visible.