Sensibility, or, sensitivity, could be directly interpreted from this work, humankind and nature being openly depicted in different mannerisms in the work "Thin Skin" . A paper cut silhouette of a singular tree, with leaves falling to brush a barely defined ground is illustrated in the centre of the work, and a lithe, sensual young woman, imaginatively interpreted by Li Lingxi, performs a dance which draws her to disappear in a spiral effect beneath the frame of vision, to re-surface and arise to occupy the entire visual space to the right of the plane. A textural note is lent to the work with sheets of translucent paper being mounted directly upon the artworks surface, “skin” takes on variable dimensions.  The metaphorical allusion permeates the work, the skin of wood evident in the teak frame and sheets of paper, the skin of leaves which sadly sweep the unpainted ground, the alive skin which carries the muscle, blood and bone of the choreographer documented within the skin of a tool of memory. The compositional and visual coherency of this work excels somewhat beyond that being normal to digital representations. "Thin Skin" transpierces mediums, movements and brings us to reflect on the inter-dynamic of natural and non-natural conditions, human life and organic cycles. The shell of skin which embraces all living things erodes and diffuses as dust, may be injured and healed, regenerates and ages. The title, which has a literal translation in “sensitivity” is here evaluated as a device of thought. Should we think with our senses, feel with our skin, would our intelligence to living things be amplified? [Rajath Suri]