| My full-time job is actually an architect, not an artist, though I attended quite a few art fairs. Most of the time, I was involved in the space design of the fairs. I provided an appropriate space for the participating artists to display their works. The more “invisible” my design was, the more popular it was with the artists. Take for example the design I did for Virtual Future in 2001. There were some basic compartments, but I switched the “yin” and “yang” of the two square spaces, trying to present the neutrality of each space. Only people who read my design statement would realize that the concept, symmetrical illusion or virtual happiness, stemmed from Einstein’s theory of distorted time-space. | 
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Liu Heng
Liu Heng, Congestion, 2002. Exhibition shot at Shanghai Biennial. Courtesy of the artist.
My full-time job is actually an architect, not an artist, though I attended quite a few art fairs. Most of the time, I was involved in the space design of the fairs. I provided an appropriate space for the participating artists to display their works. The more “invisible” my design was, the more popular it was with the artists. Take for example the design I did for Virtual Future in 2001. There were some basic compartments, but I switched the “yin” and “yang” of the two square spaces, trying to present the neutrality of each space. Only people who read my design statement would realize that the concept, symmetrical illusion or virtual happiness, stemmed from Einstein’s theory of distorted time-space.
Invisible or visible, mute or vocal, I am not interested in the formality. How to tell a story using the space whether in or outside the formality is my current creative point of view, whichever category it falls into—architecture or art.
