《阻断》包括了厉槟源在⼀天时间内完成的数次尝试。在巨流冲击下，湿滑的岩壁上，轰鸣的⽔声中， 他努 ⼒移动⾝体，去短暂地阻拦瀑布的⽔流。这样的动作和意 志，也许会让⼈想起愚公移⼭，精卫填海这样的古 代传说， 后者在讲求效率、精于计算、以物质产出和效⽤最⼤化为上的今天，似乎只能在艺术的世界中找到 延续和回响。 厉槟源以⼀种有意袒露脆弱的⽅式同⽔流对抗，他没有使⽤任何保护性的措施，相反，他⾚裸 着⾝体，将⾃⼰完全暴露在强⼤的外部⼒量之下，像是要找回⼈类同⼭川、林⽊、渊流的原初联结⼀般，在⾃ 然的背景中短暂地显现为⼀道充满张⼒的弧线，⼀座⾁⾝之桥。 BLOCKING consists of a series of attempts made in one day by Li Binyuan to scale a slippery rock-face beneath the deafening cascade of a waterfall. He tirelessly carries out the strenuous work of positioning his body in the relentless flow to form a temporary and incomplete blockage. Such perseverance and strength of will recall the Chinese legends of the “Foolish Old Man” who moved a mountain by hand or the bird-spirit Jingwei who tried to fill the East Sea with sticks in an act of futile revenge against the body of water that took her life. In an age that prizes above all else: the efficient, the methodical, the maximization of material production, and utility. It is perhaps only in art that the spirit of these legends can endure and resonate. In an intentional display of the body’s vulnerability, Li Binyuan submits himself to the deluge with no protective equipment. In fact, he is completely naked, exposing his bare body to the powerful forces of nature, as though attempting to rediscover the primitive connection between humanity and mountains, rivers, forests and maelstroms of nature. Against this savage backdrop, his body forms a momentary arc straining between two rocky protrusions, a bridge of flesh. 

从⾏为艺术的⻆度来说，“⼈打破301把锤⼦”似乎是⼀个直截了当的概念，但厉槟源的“⼀个⼈的战争”超越了形式本身；⼀个⼈做他必须要去做的事情，这看起来似乎⽆法完成，甚⾄在消耗性的⾏动后呈现出致命的疲态，但与此同时包裹在身体之外的那些⽆形的规训体制亦被迫现形；最终变为了事关个体⽣命的历史寓⾔。

In performance art terms, “man breaks 301 hammers” seems to be a straightforward enough concept. But Li Binyuan’s One Man's War transcends the form. A man does what he has to do, which seems impossible to accomplish. So much so that he is showing fatal fatigue after performing repetitive actions; but at the same time, those invisible rules and regulations wrapped outside of the body are forced to appear. It eventually turns into a historical fable that concerns the individual’s life.

厉槟源认为⼀个完整的⾏为就可以是⼀部电影 。他⾸次将电影镜头语⾔引⼊他的⾏为艺术表演当中，“⼀个⼈的战争”使⽤了⼀种超乎寻常的纪录⽅式，通过11台不同⻆度的电影固定机位记录了下来。并以独特的视⻆完整地展现了这个作品；⽽观众以另⼀种⽅式在场：摄像机即是观众。 正如他所⾔“我的兴趣是通过镜头的语法和⾏为来缔造、雕刻⼀个新的情景和“现场” ，简单来说镜头就是⼀把雕刻⼑，我就是这个雕塑，我在使⽤镜头语⾔和⾏为动作为⾃⼰造像；并通过不同固定⻆度的镜头剪辑重新书写定义了“观看”，从⽽不遗漏“表演”中的⼀丝⼀毫（包括呼吸、情绪、状态 ）。超越表演的表演，超越记录的记录，超越观看的观看，超越现场的现场，即是还原⼜是创造 。”

Li Binyuan believes that a complete act can be a movie. He introduced the language of cinematic lens into his performance art for the first time. One Man's War used an extraordinary method of recording and recorded it through 11 fixed cameras from different angles. The work is fully presented with a unique perspective; the audience is present in another way: the camera is the audience. As he said, "My interest is to create and sculpt a new scene and "scene" through the grammar and behavior of the lens. Simply put, the lens is a carving knife. I am this sculpture. I am using the lens language and performance to make a statue for myself; and rewriting the definition of “watching” through different editing of fixed-angled lens, so as not to omit the slightest bit of “performance” (including breathing, emotions, and state). Performance beyond performance, records beyond records, watching beyond watching, the scene beyond the scene, which is both restoration and creation."