我们处于变化的世界中，存在于两个世界之间，两台机器之间，一台被称为自然，另一台被称为技术，而后者则向前冲刺，磨碎，使我们重返世界，这为我们提供了极大的舒适感， 进入未知。

这一系列的艺术品就是关于这个主题的，反映了自然的经历，有时使我们无法感觉到自然，因为在外部身份和内在核心之间有太多的盾牌，太多的屏幕，太多的历史。随着最初从自然界学习的技术逐渐成为这个星球上的外星人，来访者征服，构造，解构并最终想知道下一步是什么，人类不仅吸收了这种异化感，不仅在技术与自然之间，而且在彼此之间。 根深蒂固地躺在树的每一个分支上的无形线条正在缓慢地观察着，但同时又在充满生命的同时教会了我们，似乎现在我们正在用技术完成构建和解构循环，这可能是治愈的暗示。回到核心，尽管外界的所有干扰。这个通道的每一侧都包含着一头守护狮子，它是过去的原型，深深植根于中国神话中，不仅在对外在防御，而且在自我防御，因为真理存在于我们生命的最深层，成为和谐的基础。生命是由生出生命的生态系统所激发的。

为了对准中心，点燃只有在天体中的空间和时间对齐的情况下才能燃烧的东西。观察到此青现场对作品互动行为，立即联想到Flammarion版画。这件作品在历史上非常重要，因为它代表着一种觉醒，伸向了看不见的齿轮，是对心灵的追问，是对观察力的胜利。同样地，在这项工作中，转向教条的理性转向也是如此，尽管技术日新月异，寒冷笼罩着我们，冻结了我们周围的一切，用金属包围着我们，但我们需要找到内在的人性来重新连接我们。

具有象征意义的是，我们穿越过去，从将我们引向火的火开始，引向火，把并列的对称物体并置在一起，完美地表现出一个圆圈，该圆圈内的圆具有不规则的，更人性化的形状。从建造原始的重心到对称，在工业时代，从操纵环境到向不规则形状的绝对转变，人性是如何形成鲜明对比的，现在我们掌握了这些规则形状后发现自己，被子植物使我们接近人类

材料的选择也具有高度的交流性，并暗示了人类体验的原始本质。装置漂浮，告诉我们聆听，聆听内部和外部，与自然一起呼吸，而玻璃和木制碎片所代表的过去与我们谈论了构建文明支柱的构造。冻结在变暗的玻璃中，随着时间的流逝而泛黄，一切都将到期，但我们仍通过灰色的凝视来保存它。

玻璃是元素，三件作品捕捉了光线，我们的眼睛错觉，唯一着眼于色彩并仍与自然主题相呼应的作品-木制元素。这个星球的静脉，是我们在地球上的经验之肺，我们对树木进行了塑造和重塑，结果发现它们仍然存在。

以守护狮子的不同外观和位置进入视野的门户，它们以观察颜色的形式嵌入到颜色中，而不是固定在观察者的视线中，虽然静止不动，但仍然有效，它们在自我保护，抵御邪恶的过程中发挥了重要作用，如今看来，这种抵制可能是针对我们大家都感觉到的技术的冷漠。

这次展览最形而上的方面是找到滋养核心的脉络，人类体验的原始观念，对自然的观察。 就像一棵留下足迹的树一样，通过树的线条，人类也留下了经过多年的反复试验而建立的痕迹，从光谱的一端延伸到另一端，计算出极限，在其自身上建立重塑，箭头将其引导到中心，这是从环拥的束缚中寻找游牧一族与自然融洽的反思。

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.