裝置/視覺藝術--“人類世”：地質環境變遷與種族變遷
"人類世或稱人類紀"一詞是荷蘭大氣化學家、諾貝爾獎獲得者P·克魯岑(CRUTZEN)提出，是從地質學詞匯借用而來。科學家們認為，人類的活動已經徹底改變了地球，不僅僅是地表，而且連地質年代都改變了。
從地質年代（Geological Epoch）上看，目前所處的年代屬于"全新世"（Holocene），大約已經有11000年的歷史。但是，許多證據都表明，在1950年以后的幾十年中，地球的一些地質特征發生了明顯變化?？茖W家們說，人類活動很可能引發了一個新的地質年代----人類世（Anthropocene）。
此作品的出發點就是通過裝置視覺概念表現地球的“人類世”。作品通過一些布景設計來表現一些認為造成的主要氣候變化。二氧化碳增加，全球變暖，化石燃料枯竭，塑料垃圾以及即將滅絕的物種。集合變化明顯的三個階段按照發生順序排列，從結束時間開始，到人類更新后結束。
The starting point of research for the visual concept of “Earth” was Anthropocene - a contested new geological epoch marked by major human impact on the planet’s environment. Our set design addresses the topic of anthropogenic climate change by engaging some of its key tropes; increased atmospheric CO2, global warming, burnout of fossil fuels, plastic trash and the impending extinction of species. The distinct three phases of the set are aligned in order of apparent succession, starting with the end times and ending in post-human renewal.
在第一階段，整個階段被鎖在一個透明的塑料立方體中，由沿其邊緣運行的膜所限定。立方體充滿了凝結，慢慢地充滿了厚厚的氣溶膠，暗示著行星體的生物圈。這是一個封閉的生態系統的基本模型，它的大氣維持生命，幾乎完全是地球的一個模型。當氮、臭氧和二氧化碳的軟云達到臨界水平時，結構將倒塌，使其居民裸露，暴露在宇宙和黑暗的真空中。
In the first phase the entire stage is locked into a transparent plastic cube, defined by membranes running along its outer edges. The cube is suffused with condensation and slowly filling with thick aerosols suggesting a biosphere of a planetary body. This is a basic model for a closed ecosystem whose atmosphere sustains life, quite literally - a model for Earth. When the soft clouds of nitrogen and ozone and carbon dioxide reach the critical level, the structure will collapse leaving its inhabitants bare, exposed to the cosmos and the dark vacuum.
一旦到達立方體內部的轉換點，進入下一階段；藍色激光光束的歐幾里德3D網格無聲地侵入整個戰區。立方體的薄膜塌陷，積聚的薄霧擴大到觀眾區，使藍色基質清晰可見。塑料箔殘渣疏散通過側通道和空的舞臺，光向量作為唯一剩下的元素，顛覆一切的冷，毫無意義的幾何。這是一個后世界的舞臺，以無家可歸和非人的超脫為特征。
Once the transition point inside the cube is reached, enter next phase; an Euclidean 3D grid of blue laser beams silently invades the entire theatre space. The membranes of the cube collapse and the accumulated haze expands into the audience area, making the blue matrix clearly visible. The residue of plastic foil is evacuated through the side passages and the stage is left empty, with light vectors as the only remaining element, subverting everything to its cold, senseless geometry. This is a post-world stage marked by the sense of homelessness and inhuman detachment.
在下一個場景里，抽象的自然環境與前兩個片段形成鮮明的對比。寫實主義的深林最初的生長場景滑動進入舞臺，如生命的第一次呼吸，一部分真正的有機物開始生長，這個場景讓觀眾都非常的感動。這是最后一個場景和新地球。
In the next image, in stark contrast to the abstract nature of the previous two - a life-size, hyperrealist fragment of primordial forest slides forward onto the edge of the proscenium - a breathing, living slice of real organic growth, almost touching the audience. This is the last scene and the New Earth.
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