Selected works
Wonderland I, 2025, C-print & color ink, 156×127cm
Wonderland I Detail
This work belongs to the “Paradise”series, capturing curated landscapes from a California park where botanicals are theatrically arranged for human delight. When I stood observing these deliberately composed scenes, their beauty revealed an undercurrent of absurdity—a circus-like disarray masked by floral pageantry. Such tension guided my creative process: first framing these vistas through meticulous compositions, then reimagining them with amplified hues and surreal theatricality via post-processing brushwork. The final images hover between documentation and invention—simultaneously mirroring reality and transcending it through pigment-driven metamorphosis.
Forist I , 2025, Hahnemühle paper & color ink, 120 x 110cm
Forist I Detail
Forist I Detail
I attempted to depict a scene that is both real and illusory. As evident to all, this is an intricate forest that physically exists, captured through a camera lens, yet stripped of all color, retaining only fundamental tones and outlines. This monochromatic imprint of reality, which I term the “foundational layer,” serves as the basis for all my emotions and resembles a canvas. Upon this base, through the act of painting, I infuse pigments and brushstrokes that channel my emotions and experiences. This constitutes an expression of my cognitive approach to phenomena, a manifestation of my worldview, where every outcome emerges as a subjective expression grounded in an objective existence.
The Other Shore , 2024, C-print & color ink, 127×174cm
The work stems from my experiences and emotions during a study tour. The somewhat abstract imagery originates from a real scene: the earth walls in the Gobi Desert of northwest China, which have been shaped over thousands of years by sedimentation and erosion. These formations resemble slices of history, encapsulating countless narratives. As I examined the textures of these surfaces, I gradually perceived what seemed to be an image of a Buddhist kingdom, possibly an illusion induced by the wind sweeping past me. Nonetheless, I instinctively captured the moment with my camera. Upon returning to my studio in Beijing and examining the enlarged photograph, the Buddhist imagery reappeared. Guided by this perception, I began to paint, gradually rendering the mysterious energy in hues of purple and orange. Through a prolonged and meticulous painting process, the artwork progressively developed a religious ambiance that resonates with my initial impressions. The completion of the piece feels like a form of redemption to me. Although I interact with the painting daily, at the end of each day, as I gaze back at the image on the easel, I find myself unable to fully bridge the gap between the external representation and the inner essence it evokes.
Red and Blue, 2024, C-print & color ink, 167×125cm×2
New Order, 2024, C-print & color ink, 125×130cm×4
White seeds, 2024, C-print & color ink, 126×155cm
In the autumn of northwestern China, it is common to observe clusters of shrubs scattered across barren fields. Their withered yellow hues evoke an appearance of desolation, yet amidst the ceaseless winds of day and night, clumps of white catkins cling precariously to the branches, bending them under their weight like snow-laden boughs. This is a familiar sight in the northwest. It is precisely these seemingly ordinary plants that reveal to me the resilience of life. In such a harsh environment, trees tenaciously anchor their roots deep into the soil to resist being uprooted by the wind, while their seeds are carried aloft by the breeze, nestled within dry branches, awaiting the opportune moment to settle and take root. They support one another in their struggle for survival. Thus, I captured this scene through my camera lens and later rendered it on canvas with my brush —green symbolizing vitality, red capturing the intricate pulse of life—and carefully preserved those snow-white, soft catkins, which not only encase their seeds but also embody hope.
Wool,2021,C-print & color ink, 180 x 198cm
Wool Detail
Wool The nature of Altay region of Xinjiang is beautiful in summer. However, I did not want to pay too much attention to the scenery because it was too beautiful, just like a piece of sweet but cloying candy, which only has a sweet taste in the mouth, but at the same time being monotonous and even a bit disappointing. I vaguely felt that there must be something more touching to me hidden under this beautiful appearance. Until one day I saw the wool of shepherds, or more precisely it should be piles of wool. That was shepherds’ main source of livelihood. They bundled up wool that they had shaved and stacked it on top of each other in large piles, waiting for vendors to come and collect. Those piles of wool were like silent tombstones in the meadow. These sad piles of wool left a deep unease in my heart. I have no way to explain why I felt that way, but I did feel the sad shiver. Therefore, I photographed those wool piles. Then I displayed this work "Wool" as a monument. Its size must be big enough to show that kind of aura. The inscription is these wools, the furs that previously had a life. I have to paint the wools one by one. The work is a monument composed of wool.
Archaeology A, 2023, Blueline reproduction and oil paint on linen, 230 x 196 cm
Archaeology A Detail
Mountain body ,2023, C-print & color ink, 150 x 201cm
Flesh Cliff ,2021, C-print & color ink, 184 x 154cm
Inheritance,2024, C-print & color ink, 124 x 186cm x 4
Inheritance Flesh Cliff Detail
L: Scene B 2023 C-print & color ink, 130 x 171 cm , R: Scene A 2023 C-print & color ink, 130 x 171 cm
Scene Detail
Time is the container of reality. "Scene A B" is a diptych of images recorded in a mountain area in California, USA. At that time, I had an inexplicable feeling about this area, so I recorded it and enlarged it. But I have been hesitant to do so. Due to the long period of time, the memory gradually faded. For several times, I was still at a loss when facing the image. Until I returned from the Great Khingan region. I participated in a residency program to investigate the living condition of Ewenki ethnic group in the Great Khingan region in the northeastern part of China. Many things touched me during the trip. When I came back and faced the picture again, I had the impulse to create. I made a disorderly and unconventional division of the picture, filling the overexposed rock surface with the flowing blue color, depicting the trees and rocks with blood red color, replacing the original moss with reindeer fur, and covering the original rock surface with animal guts....... Finally, I got a cruel, illusory, and disorganized scene. Like the forgotten tribe, they live in the crack of an intricate modern society, and they will be endlessly stretched, squeezed, and changed .....
L: Icefall 01 2022 C-print & color ink, 160 x 150 cm， R: Icefall 02 2022 C-print & color ink, 160 x 150 cm
Icefall Detail
Flowing Sunset, 2023, C-print & color ink, 130 x 177 cm
Wall 2022, C-print & color ink, 150 x 150 cm
Wall 2023, C-print & color ink, 150 x 154 cm
Pink, 2023, C-print & color ink, 150 x 164 cm
Yulan Magnolia, 2022， C-print & color ink, 154 x 174cm
Yulan Magnolia Detail
Mourning Xiao Hei, 2020, C-print & color ink, 150 x 189cm
Purple, 2021, C-print & color ink, 154 x 205cm
Flowing red, 2020, C-print & color ink, 150 x 196cm
Early Spring Poplar Tree, 2020, C-print & color ink, 177 x 143cm
A Dense Forest, 2018, C-print & color ink, 163 x 138cm
Spiny plants, 2020, C-print & color ink, 150 x 175cm
Valley, 2020, C-print & color ink, 180 x 197cm
Kyoto, 2017, C-print & color ink, 48.5 x 139.2cm
Pin, 2016, C-print & color ink, 150 x 198cm
Low-Pressure, 2015 , C-print & color ink, 160.5 x 164.1cm
MM Park ,2016 , C-print & color ink, 156 x 153 cm
Lab-C ,2014, C-print & color ink, 175 x 232 cm
Life is Colder than Death, 2015 , C-print & color ink, 76 x 180cm
Big Event, 2013, C-print & color ink, 157 x 215cm
The Flag Of Sweat, 2013, C-print & color ink, 155 x 213cm
The Door of a Zoo, 2013, C-print & color ink, 141×209.5cm
Wedding invitation, 2009, C-print & color ink, 150×104cm
Player of Pierrot, 2009, C-print & color ink, 124×91cm
Blue Boy, 2009, C-print & color ink, 124×89cm