1983 Born in the mountain of EMei,Sichuan Province,China
2003 Graduated from the high school attached to Sichuan Fine Arts Institute
2007 Graduated from the Oil Painting Department of Sichuan Fine Arts Institute
2007‘Love and Hurt’Art of performance,‘Vital’International Chinese Live Art Festival,501 Contemporary Art Center,Chongqing
‘coal’Installation, ORGANHAUS,501 Art Space,Chongqing
‘Bridal March’ Art of performance,“Eight areas”: Sichuan, Beijing, Shaanxi, Hunan, Chongqing, HK, MACAO, TAIWAN Behavior art exchange exhibition
‘Beyond Desire’, ORGANHAUS,501 Art Space ,Chongqing
周煜嵋自述
“五色令人目盲，五音令人耳聋，五味令人口爽，驰骋畋猎令人心发狂，难得之货令人行妨。”人类几乎所有的活动都是围绕欲望进行的，而社会也是由各种各样的的欲望建构起来，不断推进的。人和社会的本质都是欲望，但欲望是无穷的，而人的能力有限，这是一切痛苦的根源。所以“是以圣人，为腹不为目，故去彼取此。”人应该跳出这个圈套，而所谓的无欲无求也只是逃避的手段。欲望作为人性本能中的无意识的存在，欲望本身是不可超越的，但我们可以在偶然的理性驱使下看到随欲望并存的一切，那一切便是人性放纵的使然，是对人心理和生理的伤残，是对欲望的逐渐消解与毁灭，是比欲望本身更具有可考价值的现实。
在被各种幻想包围着的生活中，单纯的物象产生了更多的附属意义。在同样的幻想中，被包裹的欲望下，铸造了三寸金莲、细腰肥臀的社会女性的标准“美”的形象。理想中的女性形象，既是男人心中迷恋的女神，也是女性极力模仿的女神。在“越欲”作品展中，千佛洞似的女神们被供奉藏匿在鞋子中，这就是因为欲望只有在各式各样的“梦境”中才能自由表达的呈现。
在一系列展览中植物的出现是正好符合当下想要表达的。在日常概念中植物是很素静的，这只是在人类汹涌的欲望掩盖下的简单而粗俗的假象，植物有着强大且持久的欲望。某些植物的块茎很像人的肢体和器官，很脆弱的会自己消解掉——腐烂、霉变；但大多数的块茎里蕴藏强大的生命力，也许在卖场，也许在某个阴暗的角落，没有阳光、泥土、水，甚至把它们都附着一层颜料、塑料袋让他们与世隔绝，欲望都可以让它们伸出手来拥抱世界。这样连绵的力量会毁灭一切。很像战场中被炸飞的残肢，是先天畸形的弃婴，或者在医学实验完之后的器官……他们被遗忘，他们是欲望的终点或者即将展开欲望，然而他们有故事。
“The fives colours confuse the eye, the fives sounds dull the ear, the five tastes spoil the palate. Excess of hunting and chasing makes minds go mad. Products that are hard to get impede their owner‘s movements.” Almost all of our behaviour concerns our desires, and society itself is made of various different kinds of desire, ceaselessly being pushed onwards. The basic quality of humanity and society is that of desire, and yet desire is limitless, whilst our ability is limited, that is the source of all suffering. Therefore “the Sage considers the belly not the eye. Truly, ‘he rejects that but takes this’” [Dao Dejing: Trans. A. Waley]. We ought to escape from this prison, what we describe as “having no wants and no desires” is a means of escape. It is impossible to escape desire itself, which exists subconsciously in our instinctual natures, but we can see what comes of desire through occasional bursts of rationality, that is we can see the results of giving way to desire. The realisation of desire may result in damage to a person’s psychological and biological system, such damage works as a destructive element to the effects of desire; it is a reality much more worthy of our considerations.
In our everyday notions, plants are seen as serene, but that is only a rough and simple imagining under the cover of our own raging desires. Plants also have powerful and lasting desires. I am experimenting planting different plants, and the sweet potato is only one of them, sweet potatoes appear in my work because they just happen to be in accordance with what I hope to express. Sweet potatoes look similar to parts of the body and its organs, the fragile ones will easily be destroyed, going rotten or mouldy; and yet for the most part, they are full of a powerful life force, at the market or in a dark corner, without the presence of sunlight, earth or water or even covered with a layer of paint, or separated from the world by a plastic bag, their desires can lead them to stretch out arms to take the world in an embrace. Such an incessant power could destroy everything. They are like limbs blown off of an aeroplane in wartime, infants born crippled and abandoned, or organs left over from a medical experiment . . . they are forgotten, they are the final destination of desire or desires about to unfold, and so they have their own stories.
【编辑：霍春常】
