话题来自于对文学、标语口号、短信聊天、悄悄话、广告词甚至一声怒吼或叹息的选择性摘录，这种参照、吸收的必要，如果它真的与我有关并建立了一种客观事实依据的话，我们为什么不可以一边欣赏艺术，一边思考着艺术之外的其它事呢？而“其它”俨然已成为艺术的一部分。每一句话，因其出现的频率和情景所赋予的作用而享有独特的地位。将“话题”本身直接加以呈现，日积月累，“话题”就是艺术，“话题”本身并不形成答案，它是语言之美、拼读之趣，个人对于社会的反转，万物之语。

　　任何的语言（发声系统）更是促成话题的因素。看图说话，这是轻便之极的交流方式，木刻的传统技艺特性给予了话题本身可作为视觉传达的美学功能。木刻的历史经验特性是与其它画种有显著区别的，其作为历史上的视觉传播工具（从教义传播到书籍印刷到政治宣传），其中的信息对应于话题，文字对应于内容同时也产生形式之美。对于任何形式的本体论者无疑是在寻求虚幻、抽象的借口，避世哲学，更为安全的实践通途。现实却总是如影随形，现实及真实？模仿才是硬道理，“话题”就是“画题”。任何艺术形式的观念注入在于你对“真实”的认可度，你承认生活对应于个人选择的判断吗？平行、共和、双生、矛盾，现在及真实，一次传统戏仿当代生活的有效性实验。

　　传统的力量深远，忘记历史，即看不清未来又看不清现实。向传统学习其可贵品质，单纯的面对，坐怀不乱。技艺尽可能的内敛、平实，而不是抽离与放大，要知道世界远比你所设想的有趣得多。以“质朴”对应于当下，这好像是“差异”的反义词，“质朴”会导致“表达”的困惑？当然，如果这种所谓之“表达”仅仅停留在单向思维的方式上{本体论者}，我向往这种对立所带来的想象力，还荒谬以荒谬的本来面目。

　　我留意每一个人的谈话，包括在任何情况下的发言。文学。影像、情绪声音是选择“话题”的条件之一，记录的材料离不开形象与文字，图像背后隐藏着解释，而话题本身是无法解释的，它们只是开始而现实给予了结果。必要时需要细心的观察，话题背后的如何一处细节。模仿是观察的一种方式，模仿产生体验，慢慢的进入，消解对象的抗拒，直至灵魂附体。话题不是答案更不是口号，它是任何人对于世间的反应，或许它不单只来自人，我觉得这相比看一本画册而言，有趣多了。

　　情节在观看时应保持怎样的距离，语言又如何成为误会和陷阱的来源。

　　潜在与规则是让人哭笑不得的说法，一个话题总会有足够多的答案，包括原因和结果。

　　“话题”就是一个人的招贴画，一个人的游走，一部围绕个人生活时间而刻记的社会生态史，它始于2008年，结束于未知之时。

　　　　　　　　　　　　　　　　　　　　　　 About《Topics》

　　In my opinion, the essential elements of woodcut concern four aspects: communication and transmission, media and recording, perspective and concept, time and heterogeneous medium. There is not a fixed pattern or a standard answer to what woodcut is all about. The only thing that it can do about your life is to continue your personal interest and desire of work. In this case, woodcut no longer remains in a single context of “picture”; instead it represents a brief history of post-modern time by employing traditional techniques --- a continuously accumulating reproducing and self-converting individual complex. It certainly includes selective instant judgment and integration. From this perspective, woodcut inclines to be more direct and its distinguishing from ordinary pictures tends to be more obvious, which makes it less “picture-like” (i.e., a fine, completeness-and-result-oriented composition methodology) and more independent from other artistic texts.

　　Topics come from excerpts of literary works, banners and slogans, messages and advertisements, chats and whisperings or even roars and sighs. It seems necessary to borrow and absorb all of these. If the topic really concerns me and has sort of objective origin, why can’t we mull over other things besides art while appreciating artistic works? In such case, the so-called “other things” apparently has become part of art. Every word enjoys a particular standing thanks to the frequency of its appearance and its function bestowed by the context. If a topic is represented directly and repeatedly, it becomes art. The topic itself is not a solution; instead it reflects the beauty of language, intrigueness of spelling, individual reflection on the society as well as expression of everything.

　　All kinds of verbal expression (vocal system) can help bring about topics. On the one hand, picture telling could be the most convenient way of communication; on the other, traditional techniques of woodcut enables topic to render itself in an aesthetic visual way. The unique history of woodcut distinguishes it from other types of pictures. As a visual communication tool in the history (from preaching to books printing and political propaganda), woodcut carries information that corresponds to topics and words that corresponds to content; while at the same time it generates formal beauty. To ontologists of any kind, it is undoubtedly an excuse for illusive and abstract pursuit, a recluse philosophy as well as a convenient and safe practice. Nevertheless, reality always follows as one’s shadow. Then what can we do about reality and authenticity? Imitation is the fundamental principle. Topics of daily life can be themes of fine art. The concepts injected into any form of art depends on how much you recognize its “authenticity” or whether you agree to the opinion that life corresponds to personal choices. It is about parallelism, reconciliation, win-win, contradiction as well as present and truth. It is an effective experience that imitates modern life.

　　The power of tradition is profound and lasting. Forgetting history makes us unable to see both future and reality. We should inherit the valuable essence of tradition, i.e., always keep a simple, innocent and calm attitude towards any temptations or challenges. Techniques should be restrained and austere instead of artificial and abstract because the world is far more interesting than one might think. While corresponding to the current moment with “simple and innocent”, which seems to be the antonym of “difference”, will it lead to confused “expression”? If the so-called “expression” is merely kind of one-way thinking (namely ontologist), I look forward to imagination triggered by such confrontation and absurdity that is the true nature of it.

　　I pay attention to everyone’s conversation, including talks in all kinds of circumstances. Literature, images and emotional sounds are sources of topics. Images and words are the mediums for recording. Explanations are hidden behind the images while topics themselves cannot be explained. They just get themselves started and reality will naturally bring out the answer. If necessary, careful observation is required to cope with details of topics. Imitation is a way of observation. It generates experiences. Gradually entering into the object that is being imitated, the imitator breaks through its defenses and finally captures its soul. Topic is neither answer nor slogan. It is every individual’s reaction to the world. Furthermore, human being may not be the only source of topics. I think this is far more interesting than a picture album.

　　What distance should we keep away from the play when we are watching it? How do languages become origin of misunderstanding and trap?

　　Latency and rules are things that make you feel both funny and annoying. After all, there will be enough answers to the topics, including both causes and results.

　　“Topic” is a person’s pictorial poster. It is a person’s wandering. Moreover, it is a social ecological history that centers on a period of personal life. It begins in 2008 and end in a time unknown..