Pine trees wind through the mountains and valleys of JiuXian. The wind embraces time, speaking through the leaves, bamboos, rocks… Here, everything is time and space. Here, I think of music in sculpture.

I work with matter in its spatial and bodily dimension, in a relationship of rhythms, textures, densities, frequencies, colors, exploring the musical rhythm created by the progressions of the Fibonacci numerical series. I explore the Fibonacci series as a musical scale, where the musical notes are analogous to the bodies I create. Bodies situated in time and space. A C or a G, or a set of musical notes are volumes, they have a certain density, a certain frequency, mass, weight, dimension, form, color, timbre, texture.

Working with this musical dynamic in sculpture was a challenge. Land Art requires a true experience of matter, time, and space. In JiuXian, these elements presented themselves as something new to me—climate, geology, nature, culture, flavors, aromas, habits, and rhythms that I had never experienced before. With such a warm reception, the embrace of that unique landscape, the great enthusiasm that vibrated within all of us, the initial idea for my work easily emerged. But I soon realized that I hadn’t yet shed my old self. Surrendering to the present, being able to experience time without relating it to what I already knew, entering the pulse of life in a distant land. This surrender took time; it wasn’t a leap with closed eyes, but rather a process of adaptation that gradually closed the distances. As Zeng Weijun, the head chef of JiuXian, said, “art is life, and life is art.” In this sense, the process of my work was the process of my life in JiuXian.

From frustration, new ideas were born until the essential was consolidated: bamboo as matter and the nature that interacts with it. Bamboo is extremely versatile; it is light and strong, hard and flexible, fast-growing, and long-lasting. From macro to micro, bamboo is everywhere. It takes shape in household objects, musical instruments, in the construction of buildings… Bamboo is as present here as water or the air we breathe. Everything is made with bamboo.

I nourished myself with local traditions and recreated them. I described, corporeally, in two moments, the traditions I experienced. The two moments are materially and technologically similar, but combined in different ways. In the first moment, *Fēng zhī dí*, the bamboo dialogues with the wind and with the people who participate, touching them. The circular space embraces the visual rhythm of the bamboos, the people who interact with them, and their sounds. The sound of the wind in the bamboo. The passing time that leaves marks. The sun, the mountains… In the second moment, *Yŭ zhī dí*, the bamboo dialogues with the rain, with the mountain that breathes with it, with the rock and the different colors that inhabit it, with the breeze and the winds that pass by, with time… In both, the bamboo interacts with the climate that shapes nature and reveals the passage of time. The time that makes matter vibrate but also wears it down. The time that lives, and its end.