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2019
四只手节奏不同的伸出去拿着同一块蛋糕，直到蛋糕被瓜分干净。Four hands reach out in different rhythms and hold the same piece of cake until the
cake is divided up.《预设》
Presuppose
2019
作品以德勒兹的哲学理论为基础，探讨了个体与环境之间的复杂关系，并融入了对身份和自我意识的深刻反思。
影片以一个女人拄着拐杖穿过茂密的森林开场。她的行走姿势不仅是一种身体行为，也是德勒兹提出的物质化理论的一种体验。她的行为不仅是对周围环境的回应，也是对自己存在的确认。当她发现一间孤零零的木屋并进去时，场景变得更加复杂。木屋是人类在环境中构建的安全边界的象征，但它也是一个未知的、潜在的挑战空间。
然而，当这个女人再次走出小屋时，观众被她的黑脸震惊了。这种转变呈现出德勒兹理论中所描述的身份变异概念，即个体在与环境的不断互动中所经历的身份的重塑和蜕变。女性的黑脸不仅是一种自我认同的变异，也是外在环境对个体的塑造和影响的反映。
欢迎新物种的到来。
Based on Deleuze's philosophical theories, the work explores the complex relationship between the individual and the environment, and incorporates deep reflections on identity and self-awareness.
The film opens with a woman walking through a dense forest on crutches. Her walkingposture is not only a kind of physical behavior, but also an experience of the theory of physicalization proposed by Deleuze. Her actions are not only a response to her surroundings, but also a confirmation of her own existence. The scene becomes more complicated when she finds a lonely wooden house and enters it. The wooden house is a symbol of the safe boundaries that humans construct in the environment, but it is also an unknown and potentially challenging space.
However, when the woman comes out of the cabin again, the audience is shocked by her black face. This transformation presents the concept of identity variation as described in Deleuze's theory, that is, the reshaping and metamorphosis of identity that an individual undergoes in constant interaction with the environment. The black face of women is not only a mutation of self-identity, but also a reflection of the shaping and influence of external environment on individuals.
Welcome the arrival of a new species.