In artist’s first solo exhibition, she intentionally erases the presence of human from the scene, and intends to present the independent being of objects by detaching them from the original narrative logic to the maximum degree. She creates a kind of suspenseful atmosphere within these delicate confronting, or unstable subtle relevance, trying to lure people to be trapped in some delusory and possibly non-existent metaphors. With the transforming of time, objects, as the subject of narrative, present the state that is hardly conscious in daily experience and play a role beyond itself. 

The presence of human seems to retreat to an inconspicuous and accessorial position. Nevertheless, they more or less leave some traces on the artworks. The motion of the lifeless objects is exactly valid evidence of the all-time presence of ‘the third man’. Plus the intentional intervention with narrative time and the network of responses between artworks and views, the fields of truth and fiction constantly overlap, ultimately forming a relationship of “being-for-others” in between objects and people. Such a “serve as a foil” effect is where the charm of narrative language lies.