I think I really need to express something about culture in my design, try to find the culture meanings from Chinese folk art, actually, it is not hard, because Chinese folk art related with culture very close. The other thing is I should think about how to make my artwork more related with people’s daily life, I should try to makes it looks like a thing in nowadays." Cutting to the Spirit Lu Shengzhong is a Chinese artist and he went to UAlbany on October, creating and installing a powerful new piece composed of red paper dolls. The cutting of Little Red Figures is ritual and performance in its pure sense, practiced for generations as a devotional act to bring fertility to the family and as a symbol of ancestral continuity. A celebration environment suffuses the twofold-stature studio. Red vibrations fill one's eyes and revive the faculties. A couple red cut-paper shades falling from the top side and cadenced swirls and rehashed plans in red, white and dark wrapping around the upper display dividers try to fill your fringe vision. Being a spot overpowered is an essential for a heavenly reaction, and this is feasibly an impact on Shengzhong. A combo of dread and interest frequently fabricated by reiteration and scale regularly are hung out with the eminent. They set up an environment of secret and open the brain to non rational methodologies. Since you've ever been in a Chinese temple you realize what I mean. The immeasurable space of the University Symbolization Exhibition hall works both for and in opposition to this impact. The scale allows an introduction of fabulous proportions, but the partitioning of units that might have reinforced one another make a less burnable air. The sublime is not ordinarily hung out with hilariousness or modesty, but the apprehension that the swarming red vigor is made out of amusing small folks, some with ponytails, some with the oversize head of an infant child, fetus or frog, carries a grin to one's confront. Prolongation and fertility of both society and race is the subject, and it is treated with a gentility of spirit. The ground surface-to-roof piece The Unfilled Book—The Book of Mankind that Shengzhong finished at UAlbany contains several books at top side tallness, holding 900 pages that have been sliced to free and suspend portions of textless paper. Every coterminous line from every page joins similar