Through humor and ceramics, Qi Zhuo confronts traditions and know-how. In his work, porcelain is both the medium and the object of an experimental “cuisine” characterized by the creation of objects involving foreign bodies immerged in incongruous, enigmatic, sometimes hostile, but always amusing environments. The artist “restores” Buddhist statues from China’s Five Dynasties and Ten Kingdoms period (A.D. 907-960) in glass bubbles. From which we perceive the temporal notion of “slowness”, an eternal splice while maintaining a geographical fluidity. Such style of damaged Buddhist heads, evident in Buddhism’s many rounds of rising and falling, represents the violent movements of religious icons in the East. Eventually, they established a distinct image out of the chaos and confusion. Over the years, such images became detached from its own aesthetic origins and followed Qi like ghosts. They enter the global language and became a metaphor of his “irreverent” as evidence of time and space.