Transition is a work related to mobility, and in the Chinese interpretation there are symbols of animal migrations, which go or return to a certain place. And whether it is a creature or an object, the core of the work is concerned with the generation and circulation of flow, like the seasons, with antecedents and destinations, about migration and why. The box, as a carrier of the symbol of storage or relocation in people’s daily life, brings a certain metaphor and opportunity for the movement line in the process of being stacked or displaced. What is involved is not only the physical movement or the abstract concept of flow, but the psychological momentum brought about by the dynamics. Because a change of action may bring a change of thought, this flow may break our perception of what is already there, it may bring new life or vitality, or the flow itself may be a language.

In the distinct temporal concepts of transformation, shift, and turn, things have an eventual superimposed destination, which may bring about a different trajectory or a new beginning in the process. For instance, look at the mannequins used in the piece: they were discarded, picked up from a trash heap, went through more three years of rehearsals, were repeatedly repaired, before appearing on stage; they might have failed in their previous function—that of a clothing store display—but entered a new life cycle as their use in the piece bring new interpretations to their existence.