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Things begin to die slowly when they are born,the moment they die means the beginning of the new life.”

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Experiment1:《touching my falling/dead hair and make it reborn in a new place of my body》

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Experiment1:《touching my falling/dead hair and make it reborn in a new place of my body》

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Yoko Ono’s Touch Piece: A Work in Multiple Media, 1960–2009

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Yoko Ono’s Touch Piece: A Work in Multiple Media, 1960–2009

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Yoko Ono The moment she introduced a groundbreaking text-based conceptual practice (these guided paintings are considered to be one of the earliest examples of what we now commonly call conceptual art , Ono was creating works that adhered to the sense of touch. As is often the case with Ono's work, touch poetry will also be reimagined as conceptual works, performances, songs and other forms of expression; This is indeed a seed. For example, throughout the 1960s and 1970s, Ono performed The Touching Poem of a Crowd (1963) in various contexts . The instruction, first published in her 1964 instruction manual "Grapefruit," said simply: "Touch each other." In the later publication of Grapefruit, in the "Information" section, Ono included another variant, Touch Piece, with the simple instruction "touch" .

“I consider my shows like giving an elephant's tail. When a blind man says "what's an elephant", you lead the man to an elephant and let him grasp the tail and say "that's an elephant". The existing material in the gallery is like an elephant's tail and the larger part is in your mind. But you have to give a tail to lead into it.The thing is to promote a physical participation that will lead you into this larger area of mind. What I'm trying to do is make something happen by throwing a pebble into the water and creating ripples.”

–Yoko Ono Facebook post, March 16, 2020

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Keywords: regeneration, circular life, wood, sculptural installation, environmental collapse

These sculptures by Leonardo Drew consist of jagged tree trunks and thousands of pieces of cut wood. These monumental installations are represented as abstract landscapes that undulate and contract through a combination of natural and man-made shapes.

The author finds inspiration in the urban environment and collects relics that exist in the natural and industrial worlds. Although he modified these raw materials, they always retained their original identity, because his art is related to the cycle of life - birth, death and rebirth. His materials are born in the world, either dead or simply discarded, and then discovered by the artist, properly buried in his studio, and then transformed into a reborn new life in his sculpture.

◎ By manipulating wood and other objects to weather and age them, the colorless wood creates the fallow season of nature and the depressed atmosphere of environmental collapse. The sculpture re-engenders the tension of life in wood through the combination of regular geometry and irregular natural forms.

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I’m trying to bring “touching”instead of “looking”into my art work

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I’m trying to bring “touching”instead of “looking”into my art work

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Inspired by Yoko Ono, I am experimenting with collecting my falling hair and observing the changes in my body. Through this process, I aim to embrace and explore the natural aspects of life, allowing them to express themselves authentically through experimentation.

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It's an art project that sells a future morning. Choose a piece of paper that you want to buy a future morning.

Curator, Christophe Cherix: Ono first presented Morning Piece on the roof of the Naiqua Gallery in Tokyo. She sold pieces of glass from a broken bottle. Each specified a date and a particular period of the morning.

Yoko Ono: And I liked that idea that we created something out of a sharp nothing, that's a dangerous thing. It was beautiful like a jewel, actually, for me. And I thought, "I just want to make something out of it, you know."

Christophe Cherix: Back in New York in 1965, she presented the piece on the roof of her apartment in the West Village, where she sold pieces of sea-worn glass labeled with past and future mornings.

Yoko Ono: And it was a cold morning, and it was very early morning. We did it, like, when the sun was coming up. And on a table I had a thing that I made – which was all the worn glasses on it. And underneath the worn glass, I would have then a date. Some dates were from the past, and some dates were in the future. Maybe that particular date meant something to them, or maybe not.

But you know, some people come to me and say, "Did you know that was my birthday?" or, "Did you know that we got married that day?" or something, without knowing it or whatever. And it seems like every date means something to somebody.

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I try to do nothing about artificial movement of expression of death ,but only gazing a tree ‘s dying

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Experiment2:Record the date of the fruit’s death and the born of new life&my art work

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Experiment2:Record the date of the fruit’s death and the born of new life&my art work

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I gave  life for death

I see my time passing with the seasons The Universe is a tree shedding and renewing, with the eternal seeded in an ending

Every second runs silently

In space

Every life will pass, and within each life that passes, returning in the next glance

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Visualizing the trajectory of life passing away

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Brush of dropping ，Brush of rolling，Brush of the cut orange 

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Brush of dropping ，Brush of rolling，Brush of the cut orange 

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trying to use the fan shape brush like the hand of nature

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trying to use the fan shape brush like the hand of nature

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I use tangerines as brushes for dropping, rolling, or cutting, using their unique shapes and textures to paint on paper. Following this, I utilize a fan-shaped brush to further manipulate the painted surface, either by rolling, dropping, or turning it round, resulting in a layered and dynamic composition that reflects the organic forms. Each stroke captures the essence of the fruit's interaction with the canvas, creating a visually exploration of texture and movement.

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《道德经》第16章曰：“万物并作，吾以观

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《道德经》第16章曰：“万物并作，吾以观复。夫物芸芸，各复归其根。归根日静，是谓复命。”

The 16th chapter of the Tao Te Ching says: "All things arise together, and I observe their return. They grow and flourish, and then return to their roots. Returning to the roots is called tranquility; this is known as returning to one's destiny."

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I tried to record the date of their death

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I tried to record the date of their death