Zhang Ruyi’s artistic practice embeds itself in nothing less than the logic of life. It is centred on the undisclosed relationship between ego consciousness, physical space, and mundane experience. By withholding certain “slices” of time and information of the material employed, the artist is able to capture, replicate, compress, condense or fabricate the materialisation of emotions. She is dedicated to the exploration of both positive and negative frictions between individuals and reality, nature and industrial landscape. Its position is that of a discursive apparatus, transforming the tactile into the visual. Taking the relational language of order aesthetics, she suggests the reconstruction of a specific space to be “read,” “questioned,” and “memorised.” She employs objects to question objects and spaces to question spaces, thus resisting the order.