绘画依靠颜料，摄影依靠光，雕塑依靠材料与空间。对我们而言，香并不仅仅是一种可以被使用的材料。更重要的是，它本身包含着一个持续发生的过程：燃烧。

我们开始将燃香作为一种艺术媒介，并持续探索它能够带来什么。

这种实践来自中国传统的香。香曾经存在于日常生活、仪式、空间与身体经验之中。对我们而言，这些文化背景是它进入当代艺术的根，但我们更关注的是，当燃香真正进入作品之后，它本身能够发生什么。

燃香是媒介，燃烧是作品发生的机制。

燃烧不是作品之外的一个动作，也不是为了产生某种视觉效果而附加的过程。它是真实发生在作品中的变化。

物质在减少，形态在改变，重量在变化；烟雾出现又消散，气味进入空间，灰烬留下痕迹。时间因此不再只是作品所讨论的对象，而成为作品本身的一部分。

作品也因此不只是一个完成之后等待观看的物件。

它在发生。

这种发生使燃香具有一种特殊的开放性。它可以进入物体、图像、空间以及不同的关系之中，也可以让时间、物质、气味、痕迹、消失与身体的感知同时发生。

而在这个过程中，一些通常不会被注意到的东西开始出现。

气味本来就存在，却很少被看见；空气在不断流动，却通常没有形状；重量持续发生变化，却很难被意识到；时间一直经过，却只有在某些变化发生时才变得可以感知。

燃烧并没有把这些东西真正变成“可见”。

它只是让它们留下了可以被感知的痕迹。

因此，我们并不试图把不可见变成可见，而是希望通过作品，让人意识到不可见仍然存在。

这也是我们持续使用燃香的原因之一。

我们更感兴趣的不是建立一个固定的“香”所对应的意义系统，也不是让每一件作品都指向某一个预先确定的主题。对我们而言，燃香更像一种可以不断被研究的语言。

我希望让它进入不同的对象、关系和情境，在每一次真实的燃烧中，发现它还能够改变什么，以及它还能让什么被重新感知。

因此，我们把自己的工作理解为一种持续的媒介实践。

我们并不是在寻找一种新的方式去表现香，而是在尝试让燃香本身成为艺术语言的一部分。

这种语言仍然处在形成之中。

它来自中国传统的香，也来自当代艺术对于材料、时间、空间与感知的持续探索。它保留燃香作为一种真实物质和真实行为的属性，同时也试图让这种经验进入当代艺术的语境，在那里产生新的关系。

燃烧最终会结束。

但在结束之前，它会改变一些东西，也会让一些原本容易被忽略的东西重新进入我们的感知。



Painting relies on pigment, photography on light, and sculpture on material and space. For us, incense is not simply a material that can be used. More importantly, it contains a process that continues to unfold: burning.
We began to use burning incense as an artistic medium and to explore what this process might make possible.
This practice comes from the tradition of Chinese incense. Incense has long been part of everyday life, ritual, spatial experience, and bodily experience. For us, this cultural background is the root from which it enters contemporary art. But what interests us more is what can happen when burning incense actually enters a work.
Burning incense is the medium; the act of burning is the mechanism through which the work takes place.
Burning is not an action outside the work, nor is it an additional process intended simply to produce a visual effect. It is a real transformation taking place within the work itself.
Material diminishes, form changes, and weight shifts. Smoke appears and disappears; scent enters the space; ash leaves traces. Time is therefore no longer simply something that the work addresses. It becomes part of the work itself.
The work is consequently not simply a finished object waiting to be viewed.
It unfolds.
This unfolding gives burning incense a particular openness and generative potential. It can enter objects, images, spaces, and different relationships. It can also allow time, material, scent, traces, disappearance, and bodily perception to occur together.
And within this process, some things that would normally go unnoticed begin to emerge.
Scent is already present, yet it is rarely seen. Air is constantly moving, yet usually has no visible form. Weight is continuously changing, yet is difficult to notice. Time is always passing, yet only becomes perceptible when certain changes occur.
Burning does not truly make these things “visible.”
It simply leaves traces through which they can be perceived.
Therefore, we do not seek to make the invisible visible. Rather, through the work, we hope to make people aware that what is not readily perceived still exists.
This is one of the reasons we continue to work with burning incense.
We are less interested in establishing a fixed system of meanings around incense, or in making every work point toward a predetermined theme. For us, burning incense is more like an artistic language that can be continuously explored.
We want to place it within different objects, relationships, and situations, and through each real act of burning, discover what else it can change, and what else it can bring back into perception.
We therefore understand our work as an ongoing medium-based practice.
We are not looking for new ways to represent incense. We are trying to allow burning incense itself to become part of an artistic language.
This language is still in formation.
It comes from the tradition of Chinese incense, as well as from contemporary art’s ongoing exploration of material, time, space, and perception. It retains burning incense as a real material and a real action, while also seeking to bring this experience into the context of contemporary art and allow new relationships to emerge there.
Eventually, the burning comes to an end.
But before it does, it changes something, and brings some of the things that are easily overlooked back into our perception.