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            <url>
                        <loc>https://weiguo.art/works-1</loc>
            
            
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                                            <image:caption>&lt;i&gt;&lt;div style=&quot;text-align: center&quot;&gt;&lt;b&gt;xīn xiàng (心象) 2026 - present&lt;br /&gt;
&lt;br /&gt;
&lt;/b&gt;&lt;/div&gt;&lt;/i&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/G3182831139739442283292228390540/IMGP0250.JPG</image:loc>
                                            <image:caption>&lt;div style=&quot;text-align: center&quot;&gt;&lt;b&gt;&lt;i&gt;Consuming the Analog (2026)&lt;/i&gt;&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;/div&gt;</image:caption>
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                                            <image:caption>&lt;div style=&quot;text-align: center&quot;&gt;&lt;b&gt;&lt;i&gt;Movement I II III IV V VI VII VIII（2024）&lt;/i&gt;&lt;/b&gt;&lt;/div&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/T3184773893050082934410109849228/IMG_9956.jpeg</image:loc>
                                            <image:caption>&lt;div style=&quot;text-align: center&quot;&gt;&lt;b&gt;&lt;/b&gt;&lt;b&gt;&lt;i&gt;Evolving Consciousness (2025)&lt;/i&gt;&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;/div&gt;</image:caption>
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                        <loc>https://weiguo.art/works</loc>
            
            
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                                            <image:caption>&lt;div style=&quot;text-align: center&quot;&gt;&lt;span style=&quot;--font-scale: 0.01;&quot;&gt;&lt;i&gt;xīn xiàng (心象)&lt;/i&gt; , 4.5 in x 0.5in, 2026-present&lt;/span&gt;&lt;/div&gt;&lt;b&gt;&lt;br /&gt;&lt;br /&gt;
The work then shifts its venue to an outdoor where the scope expands into seven distinct vessels. Rather than fixed biological forms, these seven pieces represent seven different material states of human cognition. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;/b&gt;</image:caption>
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&lt;span style=&quot;--font-scale: 0.01;&quot;&gt;&lt;/span&gt;&lt;br /&gt;
&lt;b&gt;xīn xiàng（心象）&lt;br /&gt;
&lt;br /&gt;
2026–present&lt;br /&gt;
&lt;br /&gt;
Interactive installation: ceramics, sensors, microcontroller, micro air pump, silicone bladders, steel ball bearings, threaded rods, code video.&lt;br /&gt;
&lt;br /&gt;
Installation variable; Ceramic components : 16.8 × 9.4 × 9.4 inches, 13 × 6.5 × 6 inches, 5.5 × 6 × 2 inches, 4 × 4.5 × 0.5 inches.&lt;br /&gt;
&lt;br /&gt;
&lt;span style=&quot;line-height: 2.75;&quot;&gt;A site-responsive installation featuring sensory ceramic sculptural composition. When participants approach, sensors trigger an air pump to inflate and deflate an internal silicon balloon against the heavy clay walls, measuring breath as bodily time. Originally exhibited indoors with four sculptures, the work has expanded outdoors into seven vessels exposed to erosive soil, weathering, and humid air.&lt;/span&gt;&lt;/b&gt;</image:caption>
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                                            <image:caption>&lt;br /&gt;&lt;br /&gt;
&lt;b&gt;&lt;i&gt;xīn xiàng (心象)&lt;/i&gt; is a gallery-based installation in which participants are invited to interact with a series of sensory ceramic vessels. The work initially features four parallel-aligned sculptures connected to an internal Arduino microcontroller, an air pump, and a infrared  sensor. &lt;/b&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/P3182757327952276665946417467020/IMG_4677.jpeg</image:loc>
                                            <image:caption>&lt;br /&gt;&lt;br /&gt;
&lt;b&gt;When a participant approaches, the electronic sensor registers their physical distance, triggering the pump to continuously inflate and deflate an internal silicon balloon against the heavy clay walls. &lt;/b&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/U3182757963424163261166761086604/IMG_4682.jpeg</image:loc>
                                            <image:caption>&lt;br /&gt;&lt;br /&gt;
&lt;b&gt;Within this interactive loop, the somatic image manifests as raw breath, and breath is directly measured as bodily time.&lt;/b&gt;</image:caption>
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                                            <image:caption>&lt;br /&gt;
In the outdoor expansion of&lt;i&gt; xīn xiàng (心象) &lt;/i&gt;, the site transitions from the enclosed institutional gallery to an unbounded natural landscape. The exhibition departs from fixed anatomical structures, instead unravelling and reassembling the evolution of human cognition into seven distinct material states. Exposed to erosive soil, weathering, and humid air, the work allows the physical decay of matter to become an active constituent of the perceptive experience.</image:caption>
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                                            <image:caption>&lt;br /&gt;
&lt;h2&gt;&lt;i&gt;xīn xiàng (心象)&lt;/i&gt; : &lt;br /&gt;&lt;br /&gt;
Outdoor Site Interpretation&lt;/h2&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/K3185953799853873353320139656844/IMGP0367.JPG</image:loc>
                                            <image:caption>&lt;div style=&quot;text-align: center&quot;&gt;&lt;span style=&quot;--font-scale: 0.01;&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;br /&gt;
</image:caption>
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                                            <image:caption>I&lt;br /&gt;
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                                            <image:caption>&lt;div style=&quot;text-align: center&quot;&gt;&lt;span style=&quot;--font-scale: 0.01;&quot;&gt;&lt;br /&gt;
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&lt;/span&gt;&lt;/div&gt;</image:caption>
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            <url>
                        <loc>https://weiguo.art/works2</loc>
            
            
            <lastmod>2026-11-10T06:56:20+00:00</lastmod>
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                                            <image:caption>&lt;br /&gt;
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                                            <image:caption>&lt;br /&gt;
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        </url>
            <url>
                        <loc>https://weiguo.art/work3</loc>
            
            
            <lastmod>2026-11-04T06:08:54+00:00</lastmod>
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                                            <image:caption>&lt;span style=&quot;line-height: 0.5;&quot;&gt;&lt;b&gt;&lt;i&gt;&lt;br /&gt; &lt;br /&gt;
Evolving Consciousness（2025）&lt;/i&gt;&lt;br /&gt;
&lt;br /&gt;Video, 3D printing, laser-cut wood and acrylic, mixed media&lt;br /&gt;
 &lt;br /&gt;Dimensions variable&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;
</image:caption>
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            <url>
                        <loc>https://weiguo.art/work4</loc>
            
            
            <lastmod>2026-11-03T01:47:41+00:00</lastmod>
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                        <loc>https://weiguo.art/example-projects</loc>
            
            
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            <url>
                        <loc>https://weiguo.art/1</loc>
            
            
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                                            <image:caption>&lt;br /&gt;
&lt;br /&gt;&lt;i&gt;Correspondence of Order&lt;/i&gt; deconstructs consciousness into a dynamic system—one shaped by social norms and simultaneously recast through the fires of both the physical and the spiritual. The work is rooted in the artist’s field research and lived experience in Northwest China, specifically their observations of &lt;i&gt;shehuo (社火)&lt;/i&gt; a niche, traditional folk ritual. Far from being mere festive entertainment, &lt;i&gt;shehuo &lt;/i&gt;&lt;i&gt;(社火&lt;i&gt;)&lt;/i&gt;&lt;/i&gt; functions as an epistemology deeply embedded within rural society: it encompasses a sense of awe and stewardship toward nature, a reverence for and introspection upon traditional values, and the fostering of cohesion and identity within the rural social structure.&lt;br /&gt;
&lt;br /&gt;
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                    <image:loc>https://freight.cargo.site/t/original/i/R3206417264254740553665708887692/IMGP0996.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
In this ceramic diptych, the tension between social codification and ritual transformation is directly mapped onto material behavior. Executed through Cone 6 oxidation and subjected to three distinct firings, the clay and glaze matrix undergo a deliberate cycle of stress, vitrification, and re-crystallization. Each thermal cycle functions as a record of discipline and alteration: the initial firing establishes structural boundary, the second introduces surface rupture and tectonic tension, and the third settles the geological material into a newly synthesized equilibrium.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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                    <image:loc>https://freight.cargo.site/t/original/i/E3206417612104993551606723710604/IMGP1007.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
&lt;br /&gt;&lt;i&gt;Correspondence of Order&lt;/i&gt; deconstructs consciousness into a dynamic system—one shaped by social norms and simultaneously recast through the fires of both the physical and the spiritual. The work is rooted in the artist’s field research and lived experience in Northwest China, specifically their observations of &lt;i&gt;shehuo (社火)&lt;/i&gt; a niche, traditional folk ritual. Far from being mere festive entertainment, &lt;i&gt;shehuo &lt;/i&gt;&lt;i&gt;(社火&lt;i&gt;)&lt;/i&gt;&lt;/i&gt; functions as an epistemology deeply embedded within rural society: it encompasses a sense of awe and stewardship toward nature, a reverence for and introspection upon traditional values, and the fostering of cohesion and identity within the rural social structure.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
</image:caption>
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                                            <image:caption>&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Refusing decorative or literal mimicry of ethnographic motifs, the work translates the structural progression of ritual—from restraint to transformation and re-solidification into an unforgiving material process. The tactile gravity of the clay and the cumulative traces of repeated high-temperature firings establish a direct counterpoint between physical form and social order.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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                                            <image:caption>&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;&lt;i&gt;Atlas of the Dormant Flesh ( 隐生图鉴)&lt;/i&gt;&lt;br /&gt;&lt;br /&gt;
 Installation variable; Overall footprint approx. 53 × 36 × 46 inches; Ceramic components ranging from 5 × 2 × 1.5 inches. 13 × 8 × 9 inches. to 24 × 9 × 4 inches. &lt;br /&gt;&lt;br /&gt;
 Three hand-built ceramic sculptures, raw timber, natural bark, plant ash.&lt;br /&gt;&lt;br /&gt;
2026&lt;br /&gt;
&lt;br /&gt;
Grounding its inquiry in Shan Hai Jing (山海经) iconography and regional ritual anthropology,  &lt;i&gt;Atlas of the Dormant Flesh&lt;/i&gt; deploys a symbiotic trio of ceramic sculptures embedded within natural wood textures to examine how material artifacts materialize local memory, sacred worship, and dormant states of existence.&lt;br /&gt;
&lt;br /&gt;
&lt;i&gt; &lt;/i&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;i&gt;Atlas of the Dormant Flesh&lt;/i&gt;&lt;/b&gt; is an interdisciplinary material culture research practice that brings together sculpture, natural media, and visual documentation. The installation is built around a group of ceramic sculptures together with wood and bark, forming a material order of forms that cuts across local histories and belief practices.&lt;br /&gt;
&lt;br /&gt;
In the work’s visual narrative, three central ceramic sculptures articulate different dimensions of life: one appears as an anomalous shell or body that exceeds ordinary life cycles, evoking permanence, dormancy, and resistance; the second is a flattened, unknown heterogeneous organism, reflecting an interweaving of archaic memory and nonhuman presence; the third serves as a maternal carrier, a site of gestation and dwelling. Rather than existing in isolation, these three sculptures form an intrinsic intertextuality and symbiotic relationship: they are either housed within specific carriers or traced through the natural fissures and textures of tree trunks, producing a field in which the “living” and the “suspended” coexist.&lt;br /&gt;
&lt;br /&gt;
The project’s theoretical perspective is rooted in a historical examination of the Classic of Mountains and Seas, ancient mural imagery, and marginal, localized ritual practices. Within the framework of material culture studies and religious anthropology, the “object” here exceeds mere function and formal aesthetics; it is reshaped as a materialized expression of local memory, belief practice, and the veneration of sacred objects. The work explores the material connections among ritual, acts of offering, and objects of belief, and reflects on how worshipped objects shift in form through historical change.&lt;b&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;/b&gt;&lt;i&gt;&lt;b&gt;Atlas of the Dormant Flesh（隐生图鉴）&lt;/b&gt;&lt;/i&gt;是一项融合雕塑、自然媒介与视觉影像的跨学科物质文化研究实践。作品由三组陶瓷雕塑以及木头与树皮构成的装置主体共同协作，构建出一套跨越地缘历史与信仰实践的物质形态秩序。&lt;br /&gt;&lt;br /&gt;
在作品的视觉叙事中，三件核心陶瓷雕塑构成了不同维度的生命表达：其一呈现为具备超越常规生命周期的异形躯壳，隐喻着永恒、隐生与抵抗；其二为呈平铺状态的异质生物形态，折射出远古记忆与非人样态的交织；其三则为作为孕育与寄居场所的母体载体。这三件雕塑并非孤立存在，而是形成了一种内在互文与共生关系：它们或被安置于特定的载体之中，或隐现于自然树干的缝隙与肌理间。这种形式的互证交织出一张张悬置的生命图景，，构成了“活态”与“停滞”并存的场域。&lt;br /&gt;&lt;br /&gt;
本创作的理论视角根植于对《山海经》、古代壁画及边缘地缘仪式的历史考察。在物质文化研究与宗教人类学的框架下，“物”在此超越了单纯的功能性与形式美学，被重塑为地方性记忆、信仰实践与圣物崇拜的实体化表征。作品旨在探究仪式、供奉行为与信仰对象之间的物质性关联，反思崇拜对象在历史演变中的形态迁移。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;&lt;br /&gt;
&lt;/b&gt;&lt;br /&gt;
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                                            <image:caption>&lt;b&gt;&lt;i&gt;Three ceramic forms: an alien shell, a flattened organism, and a maternal vessel, into the crevices and textures of natural tree trunks.&lt;/i&gt;&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;
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