Firstly, the work selects the mesh cover, a common material in life, as its basic element. Because it inherently carries a certain cultural metaphor - protection, wrapping, restriction and release, through the deconstruction and recombination of the mesh cover, it is transformed into an artistic language with symbolic meaning. This process of "re-semandization of materials" is a profound reflection on the relationship between objects and meanings. Secondly, "Spread·SymbolNO.3" does not pursue a fixed meaning. It regards the "process" itself as an important component of art, encouraging people to seek meaning from traces and perceive order in uncertainty. "Spread" refers to the diffusion of water traces, and "Symbol" represents the carrier of meaning. The combination of the two forms a poetic space about time, materials and human perception. Secondly, "Spread·SymbolNO.3" is not only an exploration of the language of materials and the possibilities of craftsmanship, but also a visual expression that integrates traditional Chinese philosophical thoughts. By allowing the materials to "speak for themselves", it presents a sense of awe and trust in "the creation of things by nature", and is a modern interpretation of the wisdom of "doing nothing yet achieving nothing". Its "symbol" exists as an "image", guiding the viewer into a spiritual dialogue that transcends language. This "seemingly existent yet non-existent" state is precisely the "artistic conception" pursued in Chinese classical aesthetics. The work also attempts to prompt viewers to think about "existence", "time" and "meaning" through the texture of materials and the changes of traces. It is no longer merely a "vessel", but a path leading to philosophical thinking. Therefore, "Spread·SymbolNO.3" uses clay as the medium, traces as the language, and symbols as the bridge to connect the passage between ancient philosophy and contemporary art.