“Miscellaneous Objects” consists of a method and a language.
The Chinese character 杂 (zá) has three meanings. First, it means secondary. Second, it’s a verb which means to mix. Coincidentally, “zá” coheres with my direct dialogue with the material and the emotional expression cultivated by time. I did so to complete the misplacement of “them”, and ultimately create the “appropriate non-connection.” Third, it means impure. Works created by a mixture of different materials and shapes are undoubtedly “impure”. In the past, aesthetics equated pure, standardized, and centralized. Nowadays, aesthetics is more related to mixed, impure, non-standardized and decentralized.
Thing, according to Heidegger, is the symbol that dissolves in two abstract containers—time and space. Thus, objects are everywhere. They can be in front of us as well as behind us. They can be far from us as well as be close to us. So he questioned persistently concerning the thing, but there is no end.
As for sculpture, Lawrence uses “the distribution of objects in space” to elaborate the evolution of modern sculpture in half a century. During this time, “thingness”, in Fried’s “realist”, has produced a core value which is different from formalism.
Miscellaneous objects are those secondary, non-mainstream odds and ends in our life. And I prefer to use the word “object” rather than “material”. In this way, there is no functionality of what I’ve used and there is only “meta language” left in my works.
Miscellaneous Objects is created by mixing those “objects” scattered in my studio with sensibility. It’s the “sundry” to my satisfaction.