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.”

SUB-SUBCONSICOUS – 2020

UNREFLEX LAND – 2021

XIAO MEI – 2021

TIMES PARADISE – 2022

IRISES BLOOM – 2022

SAN SAN – 2025

Ode to Wither-2025

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.

Director ZHOU Chengzhou

Producer LI Yujun

Main person SHAMA Wusan, SHAMA Wuniu, WANG Ying, SHAMA Jiaqiang, SHAMA Wujia

Cinematographer/Editor ZHOU Chengzhou

Runtime: 24m 57s

IMDb:https://www.imdb.com/title/tt38349185

Director Statement

In this documentary, the central recurring image is a dead pig drifting along a flowing river. In Chinese culture, pigs symbolize wealth; a dead pig, rotting on the water’s surface, evokes the loss of once-cherished wealth, faith, and hope. Though her father’s love has faded into the past, the water continues to flow—embodying the resilience of life, the passage of time, and an unstoppable vitality. Like the river itself, the little girl carries on with an unyielding, vibrant spirit.

The film follows a young Yi ethnic girl and her friends in Xide County, a remote mountainous area in western Sichuan. In the post-pandemic era, their world has not stood still. Above the ground, the water veins still run; life continues to search for a way forward.

Through the girls’ daily games, moments of confusion, and shared dreams, we witness a small yet unyielding force of life. The dead pig will inevitably decay, but the water — gentle yet steadfast — never stops flowing.

This is a story about loss and continuation, and a record of how children in the marginalized mountain regions of China continue to grow.

Trailer 

情感

我向大地

撒了那么多的避孕套

就是为了给大地一些情感

可它们总是被雨水冲走

偶尔被小鸟叼去筑巢

或是

被羊吃掉

或是

让它们没有形状而又充满永恒的冲动

像火山一样的喷发

Emotions

I scatter so many condoms

across the earth,

just to give the earth

some emotions.

But they are always washed away by the rain,

sometimes taken by birds to build their nests,

or

eaten by sheep,

or

shapeless, yet still filled

with an eternal impulse,

erupting

like a volcano.

2，

尿的意愿

我今天

在没人的森林里

滋润了一颗干涸的松果

松果发出了声响

希望它是个姑娘

The Will to Pee

Today,
in an empty forest,
Nourished a dry pinecone.

The pinecone made a sound.
I hope it was a girl.

Fashion

Notable People

Wedding

Stills

Portraits

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