Chu Shaowei's mirror painting practice is the "completion of meaning" of new media, and also the "phased completion of vector".   He breaks the silence of painting in the direction of moving forward, while retreating to collect old toys from the 1970s and 1990s, in order to exchange life for time points, with the experimental life background of artist Anton Vidokl, rather than revealing.

Chu Shaowei is an artist who pursues "light" in easel painting, and he mobilized film.   Each painting is the result of the superposition of different painting patterns on multiple layers and one side.   After the bottom layer is painted on the cloth, the film is superimposed layer by layer.   The special transparent reflective material used in the work itself makes each layer of ambiguous color gamut more transparent and clear.   At the same time, the work itself has absorbed the surrounding environment, and seems to be opening up the folded space of the surrounding things.   This has become a "mirror dimension", and the dimension vector has also been liberated, which seems to echo with ChatGPT, rather than reveal.

"Mirror state" is Chushaowei's inner subjective spiritual attitude, and it is also the extension of his transformation of objective images into some kind of self epistemology, thus introducing the viewer into the individual life world.   The "mirror state" is a multi-directional state, which faces the world of the other, the world of the other, and the unknown.   When storing the things around, it keeps opening, mapping, and reflecting to re-combine the established viewing order of the viewer, and enters the interactive sexy world of Michele Ciacciofera, rather than revealing.

After Chu Shaowei's mirror state retreated to the painting, he himself was also hidden in the painting, hidden in the interior of the problem.   The less physical things left behind in the picture, the continuous thinking about the "mirror state" - becomes that human beings rely on the space after the metaphor has failed, and reach the path of communication between people, people and cities, and people and nature.   It transcends the viewing journey, updates the artist's attitude towards painting time, and develops a set of unique sensory communication system, It emphasizes the overall interaction between the "mirror state" and body perception and the exhibition site, which is sometimes self-conscious and more like instinct, just as Tarek Atoui's sound art transforms in a distant space, or stays in place in the transition, hiding an unusual existence in the "mirror state", rather than revealing it.

Chu Shaowei's mirror state is non-visual.   It has been entangled with your memory for a long time.   The illusion of perception will always be recalled continuously and repeatedly.   His perspective is constant and changeable, and he weaves and mends in a subtle way.   The painstaking output of the light source is selfless, which makes the audience confused and restless.   From the perspective of watching, he falls into the contemplation of psychology, and enters into his internal schema or subject, rather than revealing.

Chu Shaowei carried out tireless speculation and exploration on light and id, and his pursuit of watching turned into the dimension of extricating vision, and then rose from the sense meaning of the body to his own questioning.   He raised the invisible thinking to the dimension of existence, enlarged or reduced the time, sometimes revealed the secret, sometimes kept it secret, and even decoded the invisible in a frank and brutal way, reflecting a strong sense of layer anatomy and reorganization.   He dares to break through the boundaries of cognition, and is good at walking in situ.   Each experiment is derived from the completion and development of the previous "stage significance".   His "mirror" broadens the space of "state" in the regular changes, updates the "allusions of media" time and time again, and the order of "light" is adapted in his thinking, and an indescribable state appears, which unfolds today and yesterday in various possibilities, and proofreads the reality, Rather than revealing.

Chu Shaowei's mirror state hides the multiple contexts of light and color again, instead of "revealing something" as most artists do.   His multiple media re-translated into an unusual "mirror state", which occasionally showed Chushaowei's state, in order to hide the group dynamics of a "mirror state", rather than reveal it.