Initially, a viewer observes the silhouettes of indistinct objects, which occupy the space beyond the curtains. With a parting of the curtains, these objects reveal themselves in all their clarity and details. Yet this installation seeks to reflect the event that occurs before the parting of the curtains. In the face of these ambiguous silhouettes, the viewer is immersed in uncertainty. Yet it is the objects’ indistinctness and the viewer’s uncertainty that adumbrates the infinite, in which the viewer’s mind can produce countless of conclusions as to what might lie beyond the curtain. Only when one commits to unveiling them, with a push of a curtain, do these objects lose the purity of their potential and become actuality. “Up in the Air” aims to reflect this loss, a necessary aspect of living in the world as one exercises the fundamental freedom of volition. At the same time, the installation seems to wistfully perpetuate the momentary state of infinite possibility that precedes any specific action.

在白色纱幕之后, 物体的形状隐约可见, 似乎在等待着观者的行为去寻求明确的判断. 显然, 如果揭开白色纱幕, 就能陶醉于明确之中. 但是在白色纱幕未被揭开之前, 纱幕后的物体因不明确而具有诸多的遐想, 物体模糊的轮廓勾略出无限的可能性. 只有当明确地去辨认物体的具体性, 才使物体失去了纯正的未来, 因而只有现实的呈现, 一个非常明确的结果将被行为所决定. 作品在评述着这种失去无限或许是现实生活中所必要的行为, 但同时作品似乎在期待着延续这种无限性的瞬间状态并割舍任何行为去寻求明确.