The idea of “Some Days” was born three years ago. I decided that this new piece of work would be related to growing up, memories, gender, reality and my own attitude towards these problems. The art works solve some problems, and also bring up new ones. Of course they are supposed to end up at the most basic and true of all problems - - -the questions of man itself.

If trying to say goodbye to the imagine of the traditional and reach an agreement with the spectators, the first thing you have to do is to construct an imagine world of yourself and the special district of your language. All factors will be united from that district, and this will ensure that the future development of the art will not be decided by the artist himself. These factors will be able to build up a sort of echoing relationship, and form a connected unit, which will determine the future direction.

After deliberately letting the gigantic historic background disappear in a dim haze, the purity of the text will be even more obvious. This makes the whole content appear like seeing the light in a tunnel, and here your interpretation will reach a crossroads of possibilities.

In a number of photographs, a sort of dreamlike memory will appear, but this dream exists only because it has passed. By avoiding keeping a superficial and feather-light attitude to intervene with the realities of history, I believe that this is the only way to develop the forces of criticism and satire and bring them to their utmost. The unnatural of the movements and the “fake” atmosphere emerge from the patriarchy as well as the pressure that hits the world of grown ups. However, the absurd and tragic feeling is one hundred percent my own true understanding and dilemma towards the attitude to life at that time. The art works will gradually appear more clear and understandable, and will lead the way for the future works.

I have paid attention to the idea of “Hour Zero”. Applied on my works, one should not only consider the static and concentration of Hour Zero, but also the positive and negative numbers of time. About the negative numbers of time, they will, through extremely rational means such as experimenting, refinement etc. of samples, clear away the fogs that hide the real, this to avoid excessive emotions and irrational queries being raised.

To express the positive numbers of time, I have used a series of individual pictures to open a window- - -

The hazed skies, colourful clouds and lakes full of hopelessness, etcetera, are all labeled as eternal sceneries: these are all for the concentration of Hour Zero, and will make the idea of “zero” wider and more meaningful. Even more qualities of time will stick to the photographs.

I hope my works will express the pure and simple emotions of the artist, I also hope the spectators will experience the courage of the artist to express his care for that specific time. Carrying these emotions, I now open the curtains of the stage for “a tragedy with characteristics of dreamlike colourfulness and surreal fiction.”

王宁德最近的作品是运用摄影方式来建构一个纯属个人幻想的影像系统。现在，他给我们端出了一道迥异于报道摄影的视觉盛宴《某一天》。

与必须以事实为素材，立足于现实的报道摄影作品不同，《某一天》是一个完全人为建构的艺术营造。每张作品中的每个人，虽然身处不同的地方，不同的情景中，置身于变化多端的排列组合之中，但他们都一致地在相机面前闭起了眼睛。他们闭上眼睛，打开记忆的投影仪，在内心的屏幕上，投射一幕幕无声的内心戏剧。

据王宁德在自述中所说，《某一天》里的这些照片，“和童年有关，和成长有关，和家庭有关，和记忆有关，和作者面对这些问题的态度有关。”然而，这些影像并不是具体的叙事。他只是精心地为我们安排了反复的拒绝。在这个作品里，所有的人拒绝与观众的目光交流。他（她）们不管是老是少，是男是女，是个人还是群体，或者是紧闭双眼，或者是干脆背对观众。我们只能从他（她）们的或陶醉或神往或木然或诡秘的表情获得了一些了解他（她）们内心隐秘的线索。他（她）们是在冥想还是在回想，是在狂想中偷生还是在臆想中堕落，是因为现实的残酷而拒绝与之对话还是因为现实的诱惑太多而拒绝被惑？在王宁德的照片里，这一切都没有答案。

但是，如此之多的拒绝却泄露了他对过去的经历与记忆的执著。裸体的肥满女人（美感的超逸？），穿中山装，戴帽子却没有身份标志的男人（对成人世界的妄想？），四个穿中山装，戴帽子的男人所构成的神秘的赌局（命运的无从捉摸？），除了那些紧闭双眼的人以外没有其他人的空旷的火车厢（不知去向何方的恐惧？）空无一人的郊外（不毛的记忆的栖身之处？）------在他（她）所表现出的一种拒绝或者听天由命的姿态背后，是一种深深的孤独还是一种强装的坦然？是沉浸在过去的欢乐还是在拒绝现在的诱惑？这些影像究竟喻示了什么，外人无法从得出确定的结论。其实，王宁德本人所追求的恐惧也不是给出可以明确解读的线索。但是有一点是清楚的，那就是他已经通过这些影像，把他的经历与记忆重新整合，并且赋予一种新的形成。他所能告诉我们的，就是这些影像是他与积淀于他生命之中的一切记忆（不管是美好的还是痛苦的）所作的一次清算。

《某一天》是一种证明，证明现实与记忆这间的奇妙的相互关系。由于相互需要，现实与记忆相互之间互为参照，构成了一种记忆的现实与现实的记忆难以分清的绝对现实。现实如果没有记忆作底色，现实也许就非常的苍白，而记忆如果没有现实这面镜子检查，那么记忆本身就成为一种没有现实感的梦呓。王宁德通过＜某一天＞，既没有给他自己的自己过去以一个确定的形成，也没有给现实提示一个明确的现在，他给出的只是一个介于现实与记忆之间的绝对的现实世界。尽管那个世界中的人的衣服可能过时，但那个世界所承载的梦想却是永恒。我们看的照片，能够分享的不是他的经验，而只是他的时间意识，他的世界观，他的生命态度，他的想象力。

这些驻留在他心中的某一天或者说某一个瞬间，对于他个人来说，是一种绝对的时间，永远不变的时间。生，就是这样一种永远处于途中的无始无终的时间的俘虏。

……i hopemy works will express the pure and simple emotions of the artist, i also hope the spectators will experience the courage of the artist to express his care for that specific time. carrying these emotions,i now open the curtains of the stage for "a tragedy with characteristics of dreamlike colourfulness and surreal fiction."