Time is so long that it becomes meaningless. In such a world where time has already lost its meaning, everything will eventually die, including the universe, which will fall into heat death.

在开始对吸血鬼进行调研后。我联想到，就在这一片死寂里，出现了一个复活的东西，但它并不是活物，而是在一片死寂中出现了一个活动的尸体，那比一片死寂更让人害怕。我开始理解为什么大家对吸血鬼敌意那么深了。

My fear of death was very evident during a period when I experienced anxiety attacks. A few years ago, due to my poor mental state, I often panicked out of fear that the end of the world was coming. During that time, my father would often take me for walks after dinner. One time, when I was walking on an overpass, looking at the stream of cars and streetlights below, I suddenly felt a sense of death. One day, these lights would all go out, and this bustling city would fall silent; everything would come to a standstill, cars would be quietly stopped on the roads, and the universe would remain unchanged due to heat death, for eternity. It was as if everything was frozen, with a faint shade of blue. This feeling made it hard for me to breathe at that moment. Perhaps this is also how people in ancient times felt about death—everything coming to a standstill and losing meaning.

After starting my research on vampires, I made a connection: within this stillness, something revived appeared. But it was not a living being; it was a moving corpse that emerged in a world of deathly silence, something even more terrifying than complete stillness. I began to understand why there was such deep hostility toward vampires.

I am someone who is very afraid of complete darkness. For instance, in a warm room, if there is no light or sound at all, I start having many negative thoughts. Many of these thoughts scare me, and the extension of time without meaning is one of them. This is because a completely dark and silent environment truly resembles death.

Since 2020, He Xi has turned more towards ultimate reflections on himself, the present, and the future. He describes himself as a pessimist, creating works that confront the abyss of his inner self. At the same time, he places greater emphasis on the value of things beyond and the essence of life. Using his familiar landscape painting techniques, he pays homage to "Walden Pond," where the water at the intersection of black and gray resembles the passage of time, and within the boundless tranquility, a splash of white wave bursts with vitality. No longer confined by various techniques, he has no intention of blending Eastern and Western styles. Through continuous contemplation and painting day after day, he has transcended the boundaries of Eastern and Western artistic expression, akin to breaking free from long-held constraints and suddenly opening up the meridians, regaining profound freedom of body and mind, thus enabling him to confront the impermanence of life head-on.

Commissioned and produced by 180 Studios, Synchronicity features eight large-scale experiential works, including brand-new collaborations with Robert del Naja of Massive Attack, choreographer Dana Gingras and renowned bioacoustician Bernie Krause, with whom UVA previously collaborated on the mesmerising The Great Animal Orchestra.‍Taking its title from the works of Carl Jung, Synchronicity refers to meaningful coincidences that cannot be causally linked or adequately explained by scientific rationality alone. In UVA’s work, inexplicable natural phenomena are often made manifest — the elasticity of time, the relationship between colour and sound frequencies, the mathematical precision of celestial orbits, and chaos theory. UVA has helped define a generation of media artists working with light, space, sound and code for the last 20 years, creating dynamic experiences and atmospheric performances that envelop the viewer through the interplay of light and shadow. Under the direction of British artist Matt Clark, UVA’s multimedia practice investigates the nature of perception and cognition, reflecting the ways we attempt to understand and make sense of the world, and our place within it.

So currently, my idea is to continue this vampire performance art on the ground. However, the birth of the vampire has its reasons, rooted in the fragility of human nature and the instinctive fear of death. Therefore, I envision the beginning of this performance art to be a scene of complete silence and darkness. At this moment, a chandelier on one side of the ceiling will start to light up and sway, much like the flickering bulb in Synchronicity. The audience will only be able to roughly see the "vampire" on the ground when illuminated by the swinging light. I am also considering whether the bulb could flicker irregularly, extending the time the audience remains in darkness to emphasize the feeling of death.

Using body silicone and silicone pigment on fabric can achieve this kind of effect. Although the type of fabric has not yet been determined, I believe the material for the black blood is already resolved. I bought these materials and the corresponding dye on Amazon, hoping to achieve the desired result.

I hope to assemble one in the UAL workshop. The wire can be long enough to allow another person to control the light bulb’s random switching. I’m not sure if UAL has a studio available for filming; I'll ask around.