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我們處于變化的世界中，存在于兩個世界之間，兩臺機器之間，一臺被稱為自然，另一臺被稱為技術，而后者則向前沖刺，磨碎，使我們重返世界，這為我們提供了極大的舒適感， 進入未知。

這一系列的藝術品就是關于這個主題的，反映了自然的經歷，有時使我們無法感覺到自然，因為在外部身份和內在核心之間有太多的盾牌，太多的屏幕，太多的歷史。隨著最初從自然界學習的技術逐漸成為這個星球上的外星人，來訪者征服，構造，解構并最終想知道下一步是什么，人類不僅吸收了這種異化感，不僅在技術與自然之間，而且在彼此之間。 根深蒂固地躺在樹的每一個分支上的無形線條正在緩慢地觀察著，但同時又在充滿生命的同時教會了我們，似乎現在我們正在用技術完成構建和解構循環，這可能是治愈的暗示。回到核心，盡管外界的所有干擾。這個通道的每一側都包含著一頭守護獅子，它是過去的原型，深深植根于中國神話中，不僅在對外在防御，而且在自我防御，因為真理存在于我們生命的最深層，成為和諧的基礎。生命是由生出生命的生態系統所激發的。

為了對準中心，點燃只有在天體中的空間和時間對齊的情況下才能燃燒的東西。觀察到此青現場對作品互動行為，立即聯想到Flammarion版畫。這件作品在歷史上非常重要，因為它代表著一種覺醒，伸向了看不見的齒輪，是對心靈的追問，是對觀察力的勝利。同樣地，在這項工作中，轉向教條的理性轉向也是如此，盡管技術日新月異，寒冷籠罩著我們，凍結了我們周圍的一切，用金屬包圍著我們，但我們需要找到內在的人性來重新連接我們。

具有象征意義的是，我們穿越過去，從將我們引向火的火開始，引向火，把并列的對稱物體并置在一起，完美地表現出一個圓圈，該圓圈內的圓具有不規則的，更人性化的形狀。從建造原始的重心到對稱，在工業時代，從操縱環境到向不規則形狀的絕對轉變，人性是如何形成鮮明對比的，現在我們掌握了這些規則形狀后發現自己，被子植物使我們接近人類

材料的選擇也具有高度的交流性，并暗示了人類體驗的原始本質。裝置漂浮，告訴我們聆聽，聆聽內部和外部，與自然一起呼吸，而玻璃和木制碎片所代表的過去與我們談論了構建文明支柱的構造。凍結在變暗的玻璃中，隨著時間的流逝而泛黃，一切都將到期，但我們仍通過灰色的凝視來保存它。

玻璃是元素，三件作品捕捉了光線，我們的眼睛錯覺，唯一著眼于色彩并仍與自然主題相呼應的作品-木制元素。這個星球的靜脈，是我們在地球上的經驗之肺，我們對樹木進行了塑造和重塑，結果發現它們仍然存在。

以守護獅子的不同外觀和位置進入視野的門戶，它們以觀察顏色的形式嵌入到顏色中，而不是固定在觀察者的視線中，雖然靜止不動，但仍然有效，它們在自我保護，抵御邪惡的過程中發揮了重要作用，如今看來，這種抵制可能是針對我們大家都感覺到的技術的冷漠。

這次展覽最形而上的方面是找到滋養核心的脈絡，人類體驗的原始觀念，對自然的觀察。 就像一棵留下足跡的樹一樣，通過樹的線條，人類也留下了經過多年的反復試驗而建立的痕跡，從光譜的一端延伸到另一端，計算出極限，在其自身上建立重塑，箭頭將其引導到中心，這是從環擁的束縛中尋找游牧一族與自然融洽的反思。

Embrace, reaching to the core

We exist in the flux of change, between the two worlds, two machines, one is called nature, another is called technology, and the latter hurls forward, grinding, bringing us on it’s back, that offers so much comfort, as we go oblivious into the unknown.

This collection of artworks is about this very topic, reflecting upon the experience of nature, sometimes leading us towards the inability to feel nature because there are too many shields, too many screens, too much history between the outer identity and the inner core. As the technology, originally learning from nature, gradually became an alien on this planet, a visitor that conquers, constructs, deconstructs and finally wonders what is next, humanity also absorbed this sense of alienation, not only between technology and nature but also between each other. The invisible lines deeply seated in every branch of tree are slowly observing but also teaching us while brimming with life, and it seems that now that we are completing the construction and deconstruction circle with technology, this might be a hint to a cure, to go back to the core despite all the distractions of the outer world. Each side of this gateway contains a guardian lion, an archetype from the past, deeply rooted in Chinese mythology, guarding not only against outside but also against self, because it is in the deepest layers of our beings that a truth resides backoning into a harmonious existence inspired by the ecosystem that gave birth to life. 

To aim at the center, igniting something that can only burn if space and time are aligned in the celestial machine. Upon observing this collection of Qingzou Wei one immediately gets association to a Flammarion engraving. A piece historically very important because it represents an awakening, reaching towards the invisible gears, an inquiry of the mind, a triumph of the power of observation. A turning point towards reason over dogma, likewise in this body of work, while technology is raging with it’s coldness, freezing everything around us, surrounding us with metal, we need to find the humanity within to connect back to what we are.

Symbolically we travel through past, starting with the fire that leads us to the wood, which feeds the fire, juxtaposing the symmetrical objects, perfectly representing circle within a circle within a circle with the irregular, more human shapes. How contrasting is the human nature, from building the original gravity center towards the symmetry, in the age of industrial, manipulating the environment to the absolute shift towards the irregular shapes, now we find ourselves as we mastered those regular shapes, the patterns found in trees brings us close to our humanness,

The choice of material is also highly communicative and alluding to the original essence of the experience of being human. The installation piece floats, tells us to listen, hear the inside and outside, breath together with nature, while the past represented in the glass and wooden pieces talks to us about the construct that built the pillars of the civilization. Frozen in the dimmed glass, yellowed by time, how everything has it’s expiry and yet we preserve it through the yellow gaze.

The glass as an element has a significant position in Qingzou Wei’s art because there are three pieces that capture the light, the illusion of our eyes, the only work that focuses onto the color and is still consistent with the theme of nature, the wooden elements. The veins of this planet, the lungs of our experience on Earth, we shape and reshape the trees only to find them persist in existing.

Finally we reach the gateway of this collection in the different looks and positions of the guardian lions, embedded in forms as opposed to colour, as they observe the observer, motionless and frozen, but yet effective because it is the time spent in dedication that makes something has significance and they played a significant part in the self preservation, shielding against evils and today it seems that the shielding may be directed at the coldness of technology that we all feel.

The most metaphysical aspect of this exhibition is in finding the vein that nourishes the core, the original idea of a human experience, the observation towards the nature. Just like a tree that leaves the footprint behind, through the tree lines it makes, so does humanity leaves the trace, built through years of trials and errors, traveling from one end of the spectrum to another, counting the extremes, building upon itself, reinventing and now that we have let the arrow of technology fly, we must guide it to the center, a noble and human future we all want to be a part of.