Works

Inside a cylindrical liquid container, an OLED screen with a blue background continuously displays twenty sets of existential questions. The artist positions this screen and its control unit as a specimen from the future, where all the questions become a cross-temporal dialogue with the viewers in the exhibition space.

Three round screens of varying sizes show the classic smile of Mickey Mouse. When the viewer approaches within 1 meter, Mickey’s features collapse simultaneously.

The round screen displays the Smiling Face emoji. When the viewer approaches within 1 meter, the smile collapses instantly.

The round screen displays the Smiling Face emoji. When the viewer approaches within 1 meter, the smile collapses instantly.

The round screen displays the Slightly Smiling Face emoji. When the viewer approaches within 1 meter, the smile collapses instantly.

A custom-built Mouse Hole modeled after Tom & Jerry was carved into the exhibition wall, in the silhouette of the Raised Fist emoji. Electrical wires spill outward from this aperture into the gallery space.

Five different skin-colored versions of the Raised Fist emoji are printed on a lenticular grating panel. As viewers shift their angle of view, the perceived standard skin color of the fist continuously changes.

A crystal ball with an inner-engraved Raised Fist emoji encircles the phrase revolution without revolution, placed atop a monument-like pedestal.

The artist collected Raised Fist emojis from social media platforms and recomposed them into a fast-looping animation. The trembling fists resemble a silent protest, presented through a miniature screen that renders this elusive square of resistance.

On a circular ring, thirty 5.5-inch displays are mounted, each connected to its corresponding ultrasonic sensor and a Raspberry Pi control unit. Whenever a viewer stands in front of a screen, a high-speed video of an arm raised upward appears on the black screen; once the viewer leaves, it immediately returns to black.

The “(being) role-played” identity has become a key feature of today’s social media. The artist re-drew fragments of thirty classic cartoon characters—their raised arms—formally appropriating Annette Lemieux’s seminal street-political work Left Right Left Right (1995). These protest placards and the cluster of cartoon fists raised upward seem to stage an act of resistance and accusation,…

In Neon Spiral, against the constantly shifting halo of urban popular aesthetic paradigms, nearly sixty well-known commercial brand slogans appear and disappear, forming a Moebius-like temporality. The work is presented on an irregularly contorted LED billboard, fatigued and precariously leaning against a wall.

This site-specific installation for the gallery’s second floor features a glowing levitating moon above a square water basin. It interrelates with the main hall works Circle and Dandelions and The Edge of the Earth, weaving a cross-spatial narrative that extends the exhibition’s conceptual framework.

This work is an abstract diagram of conceptual thinking and narrative mapping. Composed of 66 images, Relational Aesthetics visualizes the intertextual relationships among the project’s works. It offers viewers another channel to access the artist’s thought process while also serving as a tool for the artist to refine logic and extend future possibilities.

As the counterpart gaze to Circle and Dandelions, The Edge of the Earth, and The Oldest TV, the model’s gender in this work is deliberately blurred, turning the eyes into universal ones that belong to anyone, at any time and place. They gaze directly at the primal sources of memory and consciousness—the moon and the…

The work depicts the collision of the cube and the sphere, a metaphor for the encounter of ancient paradoxes and the convergence of ideas. The resulting fragments symbolize eruptions and divergences within human civilization, echoing the collisions across the entire project.

Inspired by Nam June Paik’s The Moon is the Oldest TV, the artist collected images and texts related to the circle, classifying them logically and transforming them into an animated installation. The work explores the connection between gazing at the moon and the origins of human consciousness. From the circle emerges infinite associations—memory, dimension, religion,…

One square painting of an oceanic vortex suspends a levitating cube; another circular painting of a sky vortex suspends a sphere. The work symbolizes how natural revelations reshape humanity’s perception of the square and circle as “perfect” forms, while asking: if the horizon were a curve, or the moon a rhombus, would we still regard…

The work begins with the question: “When we gaze at the sea horizon, what are we truly gazing at?” This becomes both the starting point of the project and a prompt for viewers. The overlapping layers of looping landscapes, the endless passage of time, and the ambiguous character “终” (End) strip away worldly desire and…

On August 27, 2016, the artist discovered he had 1,000 friends on WeChat. He entered each friend’s “Moments” page and captured screenshots of their profiles and covers. All screenshots were then compiled into a frame-by-frame animation. This work uses social media to reflect upon society. These 1,000 friends serve as a sampling of the broader…

In this work, the artist spent 24 hours on April 26, 2016, continuously refreshing WeChat “Moments” to obtain updates. Each time a red-dot notification appeared, he randomly captured a screenshot containing the user’s profile image and compiled all the screenshots into an animation. The theme revolves around FOMO (Fear of Missing Out)—the anxiety of missing…

This series of works employs 738 groups of cross-sectional photographs of tree branches. Each group was subjectively color-adjusted and recomposed, forming a photographic installation of 738 cellular structures. Depending on the chosen printing medium and exhibition space, the project presents itself in three different modes. The term “Xian Wei” (显微) in Chinese carries a dual…

The aspects of time that interest me are, first, its formless morphology, and second, its dimensional structure. I compressed 14,464 scanned sectional images into a single frame, attempting to explore the representation of temporal form and to articulate the concept of temporal compression. The former is a process of materializing the intangible and abstract morphology…

Meteor Sonata is a video installation composed of six interconnected and synchronized screens. It was created by cutting and photographing nearly one thousand segments of a dead tree’s trunks and branches, taken between every two adjacent nodes. These photographic sequences were then edited into nearly one thousand animated images. All of the cross-sectional images originate…

Installation version of Goodbye, Utopia. The nine-channel video installation Goodbye, Utopia is presented in a spatialized format. Nine LCD screens are suspended in midair, their images facing downward toward the floor. The backs of the frames are uniformly covered with black aluminum panels. The installation is accompanied by aluminum plates and mirrors, each mirror matching…

Daybreak was a site-specific painting installation designed in response to the gallery’s architectural space. Taking advantage of the low ceiling height on the second floor and the stark material contrasts among the walls, floor, and ceiling, the work constructed an anti-display landscape of paintings within the exhibition hall. All the paintings were suspended in midair,…

God gave Moses the Ten Commandments on Mount Sinai, including ‘Thou shalt not kill’. Humans strive to create the ideal society, killing many on the way. Short, but momentous animation that symbolically, yet clearly shows the rise and tragedy of various utopias.

In a fantastical space saturated with ideology, the dazzling facade of modern industry is displayed, brimming with utopian ideals that hypnotize society. Yet ethnic communities are excluded from politics, bound by unspeakable rules and invisible constraints. From the indifferent public, the literary spectacle of square politics, to the frenzied rise and fall of the guillotine,…