Time, Motion, Extendability

Guest: This piece reminds me of our previous discussions about timelines and compressed representations of time.

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​Zhu: Yes, I’ve always been fascinated by time, particularly its relationship with movement. I feel that when shaping a work almost subconsciously, the concept of linearity naturally emerges. This might stem from a deeply ingrained understanding I have of time and motion.

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Guest: What I find particularly interesting is that this piece has the potential to extend infinitely—it inherently possesses that quality.

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Zhu: Exactly. All of my works have this sense of expansion. I always say that I enjoy playing games—like building with blocks—and I want my work to have that same adaptability. For instance, we could seamlessly connect Falling Rain to this piece; they can interlock and merge with one another.

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That’s also why I like creating large-scale works at home—because I can move them around freely, allowing them to adapt to different spaces and display formats. For me, that flexibility is what gives the work its true significance. If a piece is simply finished, exhibited, photographed, and then left as it is, without the possibility of further adjustment, reconfiguration, or exploration, it wouldn’t feel complete to me. In my creative process, I want to continually use what I’ve made, combining elements in ways I’ve never seen before. This sense of exploration and transformation is the part of making art that brings me the most joy.