Art Projects

I have been working on this project since 2018. While taking a lot of photos, I also made a documentary. Both shuttle between reality and the surreal. During the course of the project, I discovered that most of the abandoned amusement parks in China came into existence due to a strange development.

After the housing reform in 1998, many real estate developers used the construction of large amusement parks as an excuse to sell houses in order to obtain real estate benefits. Without long-term planning, the amusement parks were abandoned after real estate developers had reached their initial goal. In addition to this, due to plagiarism and imitation, the model of the amusement park is singular, repetitive and homogenous. There are a large number of amusement facilities and installations that are not aesthetically pleasing.

I found these parks through Chinese platforms such as Xiaohongshu and also through maps. I went to about 20 large and small cities in China to shoot. I also met some people who had gone to the parks to look for their childhood, who then became part of my works. Most of the amusement parks I shot have now completely disappeared. In our era of multiple entertainment and cultural shock, I hope that these parks will be valued and respected again.

This project is a series of analog photographic works created with medium-format film. By juxtaposing and reconstructing the subconscious experiences of the subjects with my own subconscious states, I seek to generate a visual field situated between reality and psychology. Photography here is no longer merely a tool of documentation, but a passage into inner mental structures.

Throughout the creative process, the subjects are not passive “objects” of the image, but active participants in its formation. Their emotions, memories, anxieties, desires, and unarticulated psychological states interact with my own perceptions, projections, and intuitions during the act of photographing. This layering of dual subconscious states results in images that are ambiguous, drifting, and unstable—positioned between private experience and collective sensibility.

The project focuses on the mental ideologies of individuals within urban and peri-urban spaces. In highly structured and rapidly operating urban environments, psychological states are often fragmented and compressed. Pathological conditions—such as disorder, anxiety, repression, and alienation—coexist with non-pathological states of self-repair, escape, imagination, and subtle tenderness. These conditions are not oppositional, but simultaneous and interpenetrating.

The inherent uncertainty, temporal delay, and physical traces of medium-format film constitute an essential component of the project. Grain, color shifts, soft focus, and chance intensify the psychological tension within the images, allowing them to more closely resemble the operations of the subconscious—nonlinear and nonrational, yet deeply connected to inner experience.

Through this body of work, I aim to present a psychological portrait within an urban context. Rather than offering a clear narrative or diagnosis, the project preserves ambiguity and openness, inviting viewers to resonate with their own subconscious and to reconsider the unstable boundary between the “pathological” and the “normal.”

The relationship between freedom and gaze has never belonged to a single species.
When humanity defines nature in the name of civilization, nature responds to that gaze with silence.

During my exploration in Africa, I gradually realized that the hierarchical structures within animal societies bear no essential difference from the power systems of human civilization. The distinction lies only in purity — a direct and unmediated order of survival. If, in the human world, money serves as the medium that sustains freedom and mobility, then in the animal world, what sustains their “freedom” might, paradoxically, be humanity itself — as observer, controller, and the author of their narrative. I, too, have become both the observer and the narrator.

As night descends, the world of animals transforms into a distorted zoo. The order of daylight dissolves into darkness; within the realm of dreams, they begin to regenerate — composing their own sequences of existence, articulating another form of self-narration. The iridescent lights that pierce through their bodies symbolize an attempt to reclaim subjectivity from within the condition of being watched.

Distorted Zoo is not a representation of nature, but a metaphorical inquiry into power, gaze, and freedom. Through the reconfiguration of animal imagery, the work exposes the contradictions embedded in human perception: in constructing the image of nature under the guise of civilization, we simultaneously dismantle the boundaries of our own being.

Within this “zoo,” the relationship between humans and animals is refracted.
Freedom becomes a spectacle of observation, while the gaze itself unfolds as a gentle yet persistent form of violence.

“Noisoma 1/3” — The Self-Organizing Order of Electronic Noise and Dream

Noisoma employs electronic noise as its primary sonic language to explore the shifting balance between chaos and order within dream states. Here, noise is no longer a disturbance or residue—it becomes a self-generating acoustic organism, possessing its own rhythm, logic, and breath.

Both dream and electronic noise share a non-linear structure: fragmented, discontinuous, and seemingly chaotic, yet governed by an implicit coherence beneath the surface. Through algorithmic noise generation and the layering of dream fragments, the work transforms sound into a reflective space of the subconscious.

The sound field resists melodic harmony or rhythmic regularity. Instead, it invites the listener into a state of perceptual disorientation—an in-between condition of wakefulness and sleep, where frequencies collide and dissolve. Noise here becomes the language of dreams: an acoustic metaphor for the collapse of order and the reassembly of meaning.

Border

Explore the people and landscapes in border towns.

My old hometown

This is my grandmother’s old home. She was born here. I didn’t grow up here as a child, but since I was a child, I have followed my family here to pay respects to my ancestors every year at Tomb Sweeping Day, until now. I found that the people and environment here are changing with the times. I will continue to observe the changes here every year when I go back.

False Untitled

Not stopping to record things that seem to have or not to have meaning.

Concealed flowers

In China, child sexual assault cases have remained high over the years. Since 2014, there have been more than 300 cases of sexual assault on children (under the age of 18) publicly reported by Chinese media alone every year.

In April 2020, during the outbreak of China’s COVID-19, Bao Yuming’s sexual assault on juveniles was a sensation throughout the country. Sina Weibo’s hot search ranked first in that days, and the number of readers who read the hot debate was hundreds of millions of times. There were a lot of people in the commentary about their sexual assault in childhood.

As the initiator, I gathered lawyers, psychological counselors and humanities scholars to launch an art project on juvenile sexual assault. In the whole project, lawyers provide legal aid and legal consultation for the victims, and psychological counselors provide psychological consultation for the victims, which are provided to the victims free of charge.

We have collected the materials of people who have experienced sexual assault in the past two years（from 2020 to 2021）. We have collected the materials of Victim through Sina Weibo, Douban, etc (both men and women, women are the majority), and some victims participated in our project. After informing other people with similar childhood sexual assault experience to participate in our project. At the same time, we also signed letters of authorization with the victims.

We have collected hardly more than 30 Victim-volunteers who are willing to stand up and provide materials to us. From the collected materials, most of the people who commit sexual assault are acquaintances, including teachers, stepfathers, cousins, cousins, uncles, and strangers. The categories of sexual assault also include rape, obscenity, sexual harassment, sexual abuse, exposure, peeping, etc, Because the victims are minor, some of them don’t even know what happened when they were infringed. Many accidents were encountered during the collection process, and many victims suddenly disappeared after providing half of the material, but we still insisted on doing it until now.
We do not intervene, but present it completely according to the wishes of the victims. We try to explore the psychological problems left after trauma encountered in the process of modernization in China, and the changes and effects of the victims ‘ psychological process during and after the whole event. We present the psychological changes and what has happened to the victims in the form of images, ready-made art, sounds and installations, Part of the photos were taken by me according to their wishes, and some parts by the victims themselves which I just gave composition and other technical suggestions. To protect privacy, I recommend that they take photos that do not reveal their facial features and photos of objects or physical details that they feel are emotionally linked. Finally, I combined these two photos. More importantly, we want to make people pay attention to the current living conditions of the witnesses and the impact of trauma on them through these forms, hoping to arouse people’s inner kindness and zero tolerance towards this behavior, And hope to strengthen the importance of sex education for the next generation in adolescence.

Mini

In China, Since 2014, there have been more than 300 cases of sexual assault on children (under the age of 18) publicly reported by Chinese media alone every year.
In April 2020, during the outbreak of COVID-19 in China, Bao Yuming’s sexual assault on daughter’s case caused a sensation throughout the country. As the initiator, I Initiated an art project on childhood sexual assault from 2020 to 2021. I have collected the materials of Victims through Sina Weibo, etc.
I have collected hardly more than 30 Victim-volunteers who are stand up and provide materials to us. I found most of the perpetrators are acquaintances, including teachers, stepfathers, cousins, etc. The categories of sexual assault also include rape, obscenity, sexual harassment, sexual abuse, exposure, etc.
I do not intervene, present it completely according to the wishes of the victims. I try to explore the psychological problems left after trauma encountered in the process of modernization in China, and the changes and effects of the victims ‘ psychological process during and after the whole event. More importantly, I want to make people pay attention to the current living conditions of the victims and the impact.

Fine art- Aerial

In this series, I use aerial photography to record the human and natural landscape of the earth from a 90-degree vertical perspective.

I have observed that satellites made by human beings can also record the earth from such a perspective, but I think the difference is my gentle emotion and the emotion feedback from the earth.

I hope that the beautiful color and appearance of the earth can be passed down from generation to generation.