迷彩隐身进化论绘画隐身与迷彩文化多样性
绘画，装置，行为
《黑白动物园》
这是在英国6星期访问之后的总结展览。画廊的主要墙上画有一幅壁画，出现了奶牛、企鹅、斑马、熊猫等各种黑白颜色的动物。他们在迷彩风格的画面中成为隐身的事物。地面上铺满了本地的落叶，一些落叶被染成黑色或白色，在地面形成一个奶牛图案。地面上同时也放着一颗足球。另一些墙面上再次出现了奶牛的黑白图案，但是黑色块之间的铅笔所画的航线和不同时代的战舰的图形，则使奶牛身上的黑色块幻化成为地图上的大陆和岛屿。
墙上出现的资料还包括关于荷兰人人工合成黑白奶牛的史料；关于疯牛病的文献；作者从本地档案馆中找到的达汀顿艺术学院的创办人恩厚之与宋美龄之间关于乡村建设和中国工业化问题的通信等。
展览期间观众行走的脚步，特别是踢足球的参与性行为，使黑白的树叶和本色的树叶渐渐混在一起，最终地面上的奶牛图案完全消失。
迷彩的概念在这里首先被理解为动物为了生存而采用的进化策略，另一方面，人工合成的黑白奶牛作为对自然的干预，开启了另一种包含着危险的进化。
In the closing event in Dartington College of Arts Gallery on 14th December, Qiu presented a new series of works created during his residency. The works used familiar elements of the area such as dairy cows, football and leaves. It seemed playful, but, brought up a whole complex of critical issues.
A set of black and white wall paintings in contrast with the forest camouflage floor (covered by autumn leaves) symbolized the conflict between natural evolution and human interference. A football placed in the middle of the floor automatically invited a mini-football match during the exhibition, destroying the pattern of a black and white dairy cow on the floor until it was totally fused into the natural leaves all around.
On the gallery wall, the black and white cow patterns were turned into maps, with pencil lines connecting islands as the ship route. It could also be read as the artist mind map, as diaries and relevant research materials by the artist during his residency were presented around the gallery.