《四惠》是一系列描绘动态、迁移和连接的景观想象，它产生于这些想法都无法实现的时刻。受地图、轨迹追踪和弯曲的步行路线所启发，这些作品是关于各类旅行（旅途）的沉思——向内、向外、宏大的和渺小的。

在全球因疫情而封锁停摆期间，网上购物和快递成为与其他人产生身体接触的仅有形式。很多不同形状大小的包裹配送频繁到达，每一件快递都用醒目的胶带和塑料泡沫包裹着。《四惠》系列中作品材料的选择是出于不断应对高高堆积起来的各类包装材料的需要，随着时间的推移，作品逐渐演变为自身与普遍和低端材料之间关系的重新审视。

北京的立交桥是为中国最早的一批城市快速路所修建，《四惠》系列作品中的现场装置便是其中一座立交桥的缩影。北京的交通地图上显示，首都多重的环路上每一座立交桥的设计都是独一无二的；这座城市没有两座相同的桥；从一个地点顺畅的到达另一个地点需要高度熟悉地域状况；熟练程度取决于经验和时间。

《四惠》是一个持续的探索，是去捕捉个人轨迹中的一个时间点；也是一个不断发展和变化的实验。

All Directions Benefit is a series of imagined landscape depicting movement, migration and connection, created during a time when these ideas could not be realized. Inspired by maps, trace routes, and meandering walking paths, the works are contemplations of various journeys—inward, outward, large and small.

During the pandemic lockdown, online shopping and delivery was one of the limited forms of physical contact with others. Package deliveries arrived frequently, taking many shapes and sizes; each arrival was a revelation of tape and plastic foam wrapping. The wall collages in All Directions Benefit initially started as a way to confront a growing pile of accumulating packing materials. Over time, the works evolved into new perspectives on common and “poor” materials.

Some of the earliest highway interchanges in China were built in Beijing. The wire sculpture in All Directions Benefit is a scale representation of one of these interchanges. Transit maps of the city show that every interchange junction in Beijing’s multiple ring roads is unique; no two bridges are alike. Moving seamlessly from one point to another requires intimate familiarity with the territory; a proficiency that comes with experience and time.

All Directions Benefit is an ongoing exploration. The exhibition itself is a point on a line within a personal trajectory, and an experiment that continues to evolve and change.

何颖宜是一位从事装置和表演工作的多学科艺术家。她的作品通过幽默、出乎意料的方式处理日常物品和情况，以质疑更广泛的社会或文化问题。何颖宜获得加利福尼亚大学洛杉矶分校的戏剧艺术学士文凭，以及纽约大学交互式远程通讯项目的硕士文凭。她生活并工作于北京和旧金山。

何颖宜参与过在亚洲、欧洲和美国举行的个展及群展，其中包括：Luggage Store Gallery（旧金山，2016）；BANK画廊（上海，2014）；St Andrews Museum（英国快富，2013）；上海美术馆（上海，2011）；Collective Gallery（爱丁堡，2011）；站台中国（北京，2010）；San-Art（胡志明市，2010）；长征空间（北京，2008）。何颖宜是箭厂空间的联合创始人，箭厂空间是北京市中心历史最悠久、独立经营的另类橱窗式艺术空间之一（箭厂于二零一九年九月关闭）。她也是五金的联合创始人，五金是一个集合了迷你咖啡厅、书店及创意平台的空间。

Rania Ho is a multidisciplinary artist working in installation and performance. Her works employ a humorous, unexpected approach to everyday objects and situations as a means of interrogating broader social or cultural concerns. Ho received her BA in Theater Arts from UCLA and a master’s degree from the Interactive Telecommunications Program (ITP) at New York University. She lives and works in Beijing and San Francisco.

Ho has participated in solo and group exhibitions throughout Asia, Europe and the United States, including at the Luggage Store Gallery, SF (2018); Capsule Gallery, Shanghai (2017); CASS Sculpture Foundation, UK (2016); BANK, Shanghai (2014); Meta Gallery, Shanghai (2015); Observation Society, Guangzhou (2013); St Andrews Museum, Fife, UK (2013); Shanghai Gallery of Art, Shanghai (2011); Collective Gallery, Edinburgh (2011); Platform China, Beijing (2010); San-Art, Ho Chi Minh City (2010); Long March Space, Beijing (2008). Ho is a co-founder of Arrow Factory, one of the longest-standing, independently run alternative art spaces in Beijing, which operated in a storefront from March 2008 to September 2019. She is also a co-founder of Wujin, a tiny café, bookshop and creative platform.