To create this work, the artist pinched a piece of pork every day, taking a photograph of the moment until the pork finally became too dry. The viewer is led to imagine Gu, a man full of life, sitting there pinching the «water» and «blood» out of a dead life, experiencing the constant contact between life and death. However, what the viewer experiences is only the elegance of false pretences and the ritualistic scene in a temple-like space. The photographs of hands pinching the pork are neatly arranged, like a series of abstract paintings. The pieces of dried pork are laid on a table in the middle wrapped in red cloth, like the remains of the deceased waiting for others to pay their last respects. Gu has deliberately created a distance between what the viewers had “seen” and the real “meaning” that he had obtained in creating the work, so as to conceal what only he had expe- rienced. What Gu created was only an inflammato- ry scene, a tentalising hint at the true significance.

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