Silk bears a profound symbolic relevancy for Chinese culture and tradition, equally, an important economic staple of the nation since time immemorial. The visual interplay of the performance of Li Lingxi, presented in multiple digital reincarnations across the lower border of the artwork, alternate sequences which are identical yet staggered in different time relay. She fans her arms outwards holding to the tails of a garment made of silk, reminiscent of the movements of a butterfly in flight or a similar scene of nature, the gossamer strands of silk which are held up to the winds current. The work is encased by light willow and the textures vary from fluid to sheer. A paperwork collage of invoices covers the entire panel, creating rectangular components upon the visual field. Her motions lay her physically bare at intervals, the silk garment alternately a veil to her naked self and tool of exposure. The performer is flashing herself in a virtual sense, as well as literal, entirely naked to the eye when her wings lift to the side. It is thought that the silkworm feeds upon the Tree of Heaven in Chinese folklore, and with the symbolic reference in mind, the work touches on themes of reproduction in a language of economic record, production and technological manufacture. The silkworm and the cultivation of silk production return to the depths of known history in the mainland, the variations of technique and craftsmanship are unrivalled throughout the world. The natural cycle of death and rebirth, as the silkworm dies in its final creation, the gossamer cocoon, is alluded to in this elegant artwork. The choreography, simple and repetitive in both content and form, reveals the dissimilar and uniformity of natural cycles. The poetical allegory which might be implied could excavate countless tomes of knowledge and poetical references, silk is timeless, possesses a tensile strength which surpasses steel and is as precious to the Chinese soul as it is in the international marketplace. Greater allegorical meaning is found when we asses that as the silkworm is not capable of regeneration without human cultivation, themes of interdependency surface. Deduction of an interdependence of terms of implementation, is a cold analytical parallel with the actual status of many women in modern China, the role as the mother in a nation of one has placed an incumbent and socially restrictive bind which limits freedom as well as social advance. As a conceptual statement, this work depicting the legacy of a material both artistic and commercial as well as the fragility of nature formulates contemplations upon the actual transformations and changes which currently embrace the industrialized PRC with the advent of global capital and artistic diffusion.[Rajath Suri]