Belgian dancer Sidi Labi once introduced that growth takes the initial structure and the initial creation as the theme, expressing the structure formed by gene aggregation, splitting, and re-aggregation, and using trees as a metaphor, presenting the past and present, present and future, past and present The relationship of the future, and the interaction of this growth process with the surrounding environment, show the process of the development of things under the interlacing of time and space and the motivation therein. Sidi Rabbi has a soft spot for trees. He has always been interested in the movement of roots, branches and irregular debris, as well as the production of new substances after cell division. According to Sidi Rabbi, each branch corresponds to a root deeply buried in the soil. The more we want to reach out and grasp the future, the more we need to understand its past. Growth is a cyclic and iterative process, which is the result of the expansion of internal savings to the outside. Dancers have something in common with trees and plants: they need to move forward, they need space, but they also have to interact with the environment they inhabit, and they are also affected by the natural world and external forces.

People can enter such a space, which is the field around him. When some carefully considered objects and lines are introduced, they have scale and meaning. This is why sculpture creates space. The size and shape of each element are related to the entire space and all other elements. As Noguchi once said, "I like to imagine sculptures that use gardens as spaces."

The space is activated through the participation of human behavior, the material is also awakened through the physical relationship of the performing arts, various materials themselves have certain life characteristics, and the invisible performing art trajectory connects the various parts of the space, the experience of the viewer is more like participating in a stage play. The spotlight is lit on the material and the performer. The space and time are solidified. The sculptures and installations in the space form an interactive relationship with the performer's limbs. The viewer can walk in the space, and can also feel the space experience after changing the conventional perspective on the entrance steps, which cannot be felt by the parallel perspective. The relationship between body power is an inexhaustible source of spatial dramatization, and at the same time, we are always looking for devices to amplify physical phenomena. This is a process of finding life, a permanent process of creation, and trying to approach a floating point. All of these provide inspiration from different fields: opera, movie, music, concert, drama, circus, etc. These different forms of accumulation and exploration also express the desire to embrace and experience life.

Order is created in disorder, and order is randomly broken by disorder. Performing art deconstructs the relationship between time, space, material and energy. The performance structure explores space and constructing works, forming a unique body language, as well as a fusion of body, consciousness, materials, energy, and improvisation. The space is the stage and the exhibition hall. The material dances with the performers, and everyone is invited to participate in this performance.