Art Projects

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.

Times paradise

I call everything that can flow, pass and flow fragrant is a paradise.

These forgotten amusement parks have disappeared due to the development of the times, the process of urbanization and the diversification of entertainment activities. Most of the amusement parks in China have been eliminated, and the well-operated amusement parks in China account for only 10% of the total. Most of the eliminated amusement parks are caused by abnormal development.

After the housing reform in 1998, most amusement parks, in order to obtain real estate interests, many real estate developers enclosure and sell houses on the grounds of building large amusement parks. Nominally, they build large amusement parks in order to improve people’s entertainment life. In fact, they real estate amusement parks. Due to the lack of long-term expected and prepared planning of amusement park projects, after real estate developers obtained high real estate benefits, amusement parks were abandoned due to poor management and mass closure. These failed projects have brought great negative effects for a long time.

Similarly, due to the plagiarism and imitation in the same period, the amusement park model is single and repeated, and the homogenization is serious. A large number of amusement parks are almost mechanical imported amusement facilities, coupled with some greening facilities, which have no characteristics, resulting in no competitive advantage. In recent years, due to the epidemic, some amusement parks have been abandoned. Therefore, people gradually lose interest in these large number of single and repeated amusement parks, and these amusement parks are gradually forgotten.

In these amusement parks, due to the backwardness of concepts and technology, there are also some problems due to aesthetic and design problems, which also result in the phenomenon of local flavor and being vilified. There are a large number of amusement facilities and installations with serious local flavor and low aesthetics, as well as a short board in their own culture. This is also one of the reasons why modern amusement parks are forgotten.

After my later visits, some amusement parks photographed by me have restored their function of benefiting the people. This is a good phenomenon. However, many amusement parks are still abandoned in that place.

At the same time, it is also a “Chronicle” of Chinese amusement parks, from the earliest simple children’s Park to landscape park, then to amusement parks dominated by sightseeing and mechanical entertainment, and later theme parks. This seems to be one of the many changes in the way Chinese people entertain.

I found these forgotten amusement parks through some Chinese Internet platforms, such as xiaohongshu, satellite maps and friends’ introductions. These once bustling places are now abandoned and forgotten. They seem to be singing in sorrow. Here, I met some people who came here to look for memories and childhood. In the process of their search, these people expressed some emotions – search, hesitation, hesitation and hope. I joined them and joined them as a former role. I also tried to restore some iconic elements of the times and reconstruct these elements with the forgotten amusement parks of all ages. Time has faded the color here, but the color is still gorgeous, but full of loneliness.

When I saw these landscapes, I was touched by these scenes. Combined with my senses, I made 40 poems and some literal understanding. These poems are about the emotions brought by the amusement park to me. These emotions are continuous, and I look for the dreams and memories of my childhood in this image and text.

I am also trying to discuss how the amusement park lost its functionality, and the animals returned to the abandoned land to live again in the media of these abandoned amusement parks. What is the relationship between them and the amusement park, and how is it developed, and what new relationship forms exist between people and the abandoned land. This is what I want to explore.

In this era facing the impact of multiple entertainment cultures, I hope to use these forgotten images and some of my words to reconstruct the amusement park you dreamed of in your childhood dreams. I also hope that these entertainment activities that can bring joy to contemporary people will be valued and respected again. This is also a long-term project of mine, and I will continue to record it.

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.