Extracting and Abstracting the Shock of 'Sole' and 'Footprint'

The various exhibitions in the M50 Creative Park are like a dazzling galaxy, leaving people in awe. Stepping into it feels like entering a colorful world of art. However, the most impressive is the exhibition curated by Yang Yexin, 'The Traces I Leave in This World.' Is this world first marked by footprints or by soles? The exhibition uses an imaginative and highly industry-intrusive 'big foot,' which leaves conspicuous footprints wherever it steps. This 'big foot' launches wave after wave of era-shocking and spiritually penetrating stomping actions on the public, avant-garde culture, and the flow society. The 'big foot' in 'The Traces I Leave in This World' appears to be a 'solo choir' of one person, yet it is also plural; it is both one and many, both silent and tumultuous, deeply intervening in contemporary life, daily routines, and public society. 'The Traces I Leave in This World' gathers the energy, information, and people of public society into a specific spatial field, even focusing on the more specific 'sole.' Thus, the exhibition systematically constructs the symbols of 'sole' and 'footprint' extracted and abstracted from daily life, thereby facilitating a higher-dimensional value production. It reveals that 'sole' and 'footprint,' as everyday objects, are concrete representations of human interaction with the world. They are not only direct results of human actions but also projections of humanity in nature, time, culture, and history. The existence and disappearance of footprints can inspire deep reflections on human behavior, the natural environment, and the passage of time. 'Sole' and 'footprint,' as symbols of the relationship between humans and the world, demonstrate how we connect with the world through our actions and leave our marks.