Iron was expressed as the symbol of iron cage in Wang Jiazeng’s early artworks. Currently, the dense and phantom-like iron cages disappeared in his works. Perhaps he has sought a settlement with the iron that meant the oppressive object. However, iron as a particular symbol of tough object is still unerasable within his perspective. It not only confines his body but also reconditely grows inside him. In that sense, it could be thought that Wang Jiazeng is an ‘iron-human’ installation; he holds iron tools to forge the iron. The hardened iron are beaten by the same hardened iron. Iron is tamed by iron, pressed by iron, shaped by iron. The toughness of iron, rigidness, weight, cruelness, and properties, are thus softened.

The tenderness of iron is also folded iron. They are pressed and folded together under violent and irregular hammering. The trace of force and body emerges in the process of the folding. These artworks are thoroughly materialized, but are also completely made body-like; this is the silence of materials and the sweating of bodies.

Although materials have become silent, they form an extruded, chaotic, and bended world. They are full of the disaster that is intolerable by order, full of the kind of debris and pleat that are continuously stretched and compressed, and fundamentally, full of a Baroque-type of upheaval, enrichment, and crowdedness. It rejects center, point of focus, orderliness, and slash. Whether it is folds on paper or iron, these are all decentralized bending. The bend is the “event”, the essence of the world. Here the world is not a stable and solidified object, it cannot overcome and process everything. Quite the opposite, it is the bending character with fluidity, flexibility, roughness, and tenacity. It could be though that the event is the bend and the world itself; the world is in fact bended. Here Wang Jiazeng believes in the Baroque world, a bended world.