MadeIn Art Museum is a living space. Grasshoppers, cicadas, and frogs shout, mantises, locusts, and snakes surge with undercurrents, insect eggs, and dew spiral in form. It is a patch of mixed green, a whole “rhizome.” Here, I want to recreate the “Re-attach” game of my childhood.

It’s like assembling the head of a cicada that fell from a summer tree with the body of a grasshopper, or combining the dissolving and decaying animal bodies in wild grass with mineral stones; holding specimens to connect with distant bungalows through perspective; I want to connect plants to mountain caves… I freely swap all the “heads” within my sight, combining seemingly unrelated materials: animal legs, biological humans, plants, fingers, cavities, houses, spiral green dots – dissolving the barriers between the abstract and figural, and the spectral and physical.

I experience the creator’s fun, feel the expanded signals released by neurons, and the hair behind foreign materials, the light of the medium. Rejection, reorganization, arrangement, and alternation, like a cosmic explosion that occurred 13.8 billion years ago, where all galaxies and everything within them, all mass and matter, could fit into a space smaller than an atom.

I build, stack, and discover the structure of the cosmic exit and entrance hidden in the traversing space, achieving entry and exit in the spatial dimension. It’s like finding a tubular wormhole that connects different locations within the same universe, or even two separate universes, enabling interstellar travel.

The head and the body it connects to shuttle, subatomic particles reorganize, recombine in the internal environment; the original head floats, trembles, compresses, dissolves, reorganizes, embeds, and generates automatically, with the body becoming a new head to continue the new cycle.

Everything is in a state of change, a game of switching intermediate states.

——Wang Xin