The existence of the box is to protect the objects inside it; or, it is born to protect the world outside the box.Ten years ago, the artist drafted an art project - Three: A Collecting Project about City, Deformation, and Wandering - with a cycle of every ten years. The original chapters were BOX-OLOGY, Wandering Fragments of CITY, and Fragments. These three chapters served as a starting point to expand the project outwards; however, the artist did not give a direction to the expansion. Like someone continuously and erratically threw something into the darkness, it was waiting for any possible responses.

Through handicraft, the craftswoman, Ting Kuan-Yun, infuses her own universe view into her works. At this moment, the works are not only an interface that transfers personal emotions but an extension of people’s thoughts. Therefore, as the self-projected objects of the artist, could they have a consciousness of their own? Would the objects one day be able to spread and extend the memories they share with people? Especially after having a child, the artist started to reconsider how time could infuse into objects.     "The artist treats the house as a container. She believes that humans’ bodies are like objects in life inside this big container. With different times, light, temperatures, and humidity, those seemingly ordinary objects changed accordingly, resulting in gradual physical changes such as mold, dust, deformation, and melting, etc. The objects have changed in the house; whereas we human beings have changed in our thoughts. In this big container, people could see the imprint of feelings and self-condition through these long-standing objects. As our life stages have changed over time, the objects surrounding our life have also transformed into a new shape. With the new life born, the artist’s imagination of the house has also been rearranged, which is like the objects in life having new changes in this container. " The venue of “Slow Objects” is like a metaphor for a container, enlarging the perception of people’s daily moments. This exhibition has reflected our state of existence through the investigation of the interpersonal cycle and the interdependence among different objects. Hence, “slowness” has become a daily routine: due to slowness, human is aware, objects are changeable, and daily lives are even extraordinary.  

''The dusty item was suddenly raised, leaving the contour revealing imagination.'' Starting from the observation in daily life, Mr. Chien Chih-Feng records and critiques the environment and phenomena of behavioral models and objects that are less spotlighted than usual.   ''25% off on all the items now. Enjoy up to 10,000 discount. Please search online for more details.'' The numbing advertising elements like the above are spread throughout our lives from small markets to large department stores. These tempting slogans and images are pervasive.   In such a two-way interaction and various visual stimulation, can the public find the way back to consumption and satisfy their desires, or do they only keep wandering in the cycle of appearance/illusion?   As human beings who follow our own will in principle, can each of us go through fire and water to implement the freedom ourselves in this seemingly maturing system?   The exhibition starts from the perspective of painting, extending through three media: graphic, installation, and animation, and moves through the city in numerous ways to explore the existence of goods/people, the visual fatigue/stimulation caused by advertising, and the various connections with the environment encountered in this process. These elements then integrate into a platform to reflect and justify the system/environment and human/consumption initially conceived by the artist.