尉洪磊的“肥鼠”仿佛被太空时代美学感染的原始土地。三个在三脚架上的球体，每个直径1.5米（《泥球 – 1》《泥球 – 2》《泥球 – 3》，2014）让人想起艾洛·阿尼奥（Eero Aarnio）著名的“球椅”（Ball Chair），却拥有陶器天然粗糙的质感。还有一排由明亮的绿色假发制成的图腾柱（《她的一周》，2014），在形式上暗喻了康斯坦丁·布朗库西（Constantin Brâncuși）的“无限柱”（Endless Column）。受沃尔夫冈·莱布（Wolfgang Laib）同名作品启发的创作（《米房》，2014）中，三个金属物体（一个长房子、一个八号台球以及一个由球体、立方体、金字塔和圆盘组成的建筑结构）端坐在一个浅橄榄黄的块状物上。与《米房》一样，《威尼斯女人》和《油椅》采用了相同的非线性逻辑和方法论；它们从复刻阿尔贝托·贾科梅蒂（Alberto Giacometti）和约瑟夫·博伊斯（Joseph Beuys）的同名作品开始。

尉洪磊即便在其群体中也是独特的一员。他对于艺术意象的解译、转换和循环的观察极其敏锐。正如他的展览所体现的那样，他借鉴布朗库西与引用《闪灵》同样自如——两种指涉都在他的影像作品所构建的数字空间中找到了自己的位置。那些来自艺术史一些特定时间的形式——及诸多其他形式，再次出现在他的雕塑创作中。他驾轻就熟地使用材料，塑造出有些别扭的形状，承载特定文化的记忆和印象——好像本来就 是这样，本来就应该如此。

Liu Chuang’s latest work, Segmented Landscape (2014), consists of six metal window grilles, each bearing a distinct geometric pattern. Installed above visitors’ heads in the main hall of the Power Station of Art, the venue for the 10th Shanghai Biennale, it is lit by spotlights while an artiȷcial breeze causes pieces of white gauze, hanging like curtains behind each grille, to shift gently. The shadows cast by the grilles appear as patterns transposed onto the fabric. The overall eȴect is of a series of photograms, which seems ȷtting since the work is, to some extent, a snapshot of China in the late 1980s and early ’90s, when such window guards suddenly began appearing on houses and apartments across the country. At that time, they could be seen as a visual reminder of China’s burgeoning prosperity; here, they seem a quiet lament to the individualization that has been a by-product of economic growth.

No stranger to the American art scene, Liu Chuang’s conceptual art has been featured in several outstanding group shows in the United States, including “The Generational: Younger Than Jesus” (2009) at New York’s New Museum, “28 Chinese” (2013) at Miami’s Rubell Family Collection, and “My Generation: Young Chinese Artists,” which recently debuted at the Tampa Museum of Art as well as the Museum of Fine Arts, St. Petersburg.