Imagined as a shrine to eroticism, The Temple Of Hidden Coitus contains several sculptures in the form of witchcraft. Rooted in eroticism, these works explore the radiating dimensions of the erotic—selfhood, absence, and violence.

For a long time, witchcraft was an additional language outside of modern science. As a way of dealing with contradictions in the folkloric world, witchcraft provides a place for imagination in the face of humanity's unreachable desires, a triumph of psychological fact. Witchcraft is also the power compensation of the dispossessed, and people of any status can try to escape their dilemmas through the power of witchcraft.

Eroticism is different from love and sexual desire, it is a kind of both spiritual and physical desire, an impulse to eliminate individuality. Often, excess eroticism leads to a kind of violence that, at the individual level, leads to self-destruction or infatuation with the other; At the social level, such violence undermines the rational order of labor.

Daoguang Wen uses wood as his primary material—commonly found in Chinese folk religion—and combines it with mixed materials related to the body to discuss the intense erotic drives and their complex psychological effects on him. This also serves to blur the boundaries between art and witchcraft. In this project, Daoguang  adopts witchcraft as a method to explore how it can intensify individual experience or the force of personal desire, and to construct a spiritual space.