I especially want to make the book carrier truly record the nature itself, so that the translation can become an effective and genuine demand. So I pressed the juice of various plants, such as fruits, vegetables, branches and leaves, which originally belonged to nature, and then soaked, flooded and surrounded a sheet of white paper with their respective juices. In each individual juice, each piece of paper records the marks of those plants in the most authentic and direct way. I air-dry these papers shaped by the plant sap, allowing them to shrink, distort and twist - the dipping and curing process makes them fuse together. In this way, each sheet of paper records the color and texture of the fruit, vegetable or plant, creating a hybrid form. After such interactions, the paper becomes the historical carrier of that plant, 'the only carrier rather than a virtual state under transcription.' When these histories shaped by the things themselves are assembled into books, the description of 'knowledge' is invalid and the symbolic pointing of the images is rootless. What there is is a purified and defused phytography. It is the incarnation of natural history.
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