Untitled does not originate from a predetermined intention or concept; rather, it unfolds through an experimental engagement with digital brushes. The work foregrounds improvisation and process-oriented practice, where visual development emerges not from fixed design but from the ongoing negotiation of tension and balance among visual elements. In this sense, the project highlights the exploratory nature of artistic experimentation, underscoring the role of intuition and dynamic decision-making within contemporary painting practices.

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Untitled 并未以明确的意图或概念作为起点，而是通过数字笔刷的实验性运用展开创作。作品的生成过程强调即兴与过程导向的实践，画面的发展并非预设，而是在持续的观察、判断与调整视觉元素之间的张力和平衡中逐渐形成。此种方式凸显了创作作为一种探索性实验过程的特质，强调直觉与动态决策在绘画实践中体验。

The Window reflects on the paradox of openness and obstruction. The visual inspiration comes from abandoned houses in Detroit, where windows were sealed with bricks and boards, and from my experience in a budget hotel in China where a window opened only onto a wall. These encounters revealed how a structure meant for connection can become a symbol of closure—its absence made more visible when a window is filled in. This transformation resonated with the isolation of the pandemic, leading me to reinterpret the “window” as a metaphor for contemporary solitude and the tension between our longing for connection and our impulse toward self-enclosure.

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《窗口》反思了开放与阻隔的矛盾意象。作品的视觉灵感源于我在底特律看到的废弃住宅，其窗户被砖墙与木板封闭，以及我在中国一间廉价旅馆中经历的“窗外即墙”。这些经历让我意识到，本应象征联结的结构，如何被转化为封闭的符号——尤其当一个窗口被填补时，它的缺席反而更为显眼。这种转化与疫情期间的孤立处境产生了共鸣，使我将“窗口”重新理解为当代孤立的隐喻，揭示出我们在渴望与外界相连的同时，又不断筑起自我封闭边界的矛盾。

Solid is an experimental work on the materiality of cement. By adjusting the ratio of water and cement, the material was made to flow like liquid inside plastic bags before hardening as it dried. This process transforms cement—typically associated with rigidity and permanence—into forms that evoke softness. In another iteration, cement was cast to resemble the texture of flowing water and paired with smooth wooden frames, further challenging our conventional perception of the material.

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《Solid》是一项关于水泥材料的实验。我通过调节水与水泥的比例，使其在塑料袋中呈现出液体般的流动状态，待其干燥后凝固成形。这个过程使人们惯常与坚硬和永固联系的水泥，被转化为具有柔软质感的形态。同时，在另一部分作品中，我尝试让水泥呈现出水流般的质感，并与平整的木质画框形成对比，从而进一步挑战我们对这一材料的固有感知。

Be Happy deconstructs and reassembles a self-help book to explore the structure of textual information and modes of reading. While the original book delivers one motivational quote per day to foster optimism, the work reconfigures all pages into a single large panel, disrupting linear order and compelling viewers to confront every “encouragement” at once. This overload and fatigue respond to the shift from print culture to the digital information age, exposing how the function and value of pre-digital content have been displaced and rendered obsolete.

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《Be Happy》通过拆解与重组一本自我激励读物，探索文本信息的结构与阅读方式。原书以每日一页的励志语句营造积极与乐观的情绪体验，而作品则将所有页面解构并拼接成一个整体面板，打破原有的线性逻辑，迫使观众一次性面对全部“激励”语句。这种信息的过载与感知疲劳回应了纸质阅读与数字化信息时代的差异，揭示了前数字化时代的信息功能与价值如何在当下被异化与淘汰。

Lottery Tickets stems from my fascination with the scratch-off mechanism of lottery cards. The work seeks to capture the addictive tension of the “unknown,” ritualizing the visual language of the lottery into a gaze of desire and anticipation. Untouched lottery icons are assembled into a suspended, window-like structure, where repetition and emphasis heighten their visual presence. This fascination with revelation resonates with contemporary media’s refresh mechanisms, such as the endless downward scroll of social media feeds, which continually entice with the promise of new and uncertain content.

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《Lottery Tickets》源于我对彩票“刮开”互动机制的兴趣。作品试图凝固这种带有上瘾特质的“未知”所引发的心理张力，并将彩票的视觉形式仪式化为一种对未知结果的凝视与迷恋。未刮开的彩票标识被拼接成类似“窗”的悬挂结构，通过重复与强调强化其视觉效应。我认为，这种对揭晓的迷恋与当代媒介中的刷新机制具有本质关联，例如社交媒体的无限下滑所带来的无尽未知与持续吸引。

Grocery intervenes in cheap advertising prints to reshape their visual structure and perception. Through acts of covering and erasing, the work deconstructs the informational logic of flyers, revealing the underlying structures of their design language. In this process, ubiquitous coupons and promotional graphics are estranged and transformed into abstract compositional forms. Once displaced from their functional context, these materials compel viewers to reconsider everyday objects that are often overlooked.

《Grocery》尝试对廉价广告印刷品进行视觉干预，重塑其视觉结构与感知。通过遮掩与抹除的方式，作品解构广告传单的信息逻辑，显现出潜藏其中的设计语言结构。在这一过程中，随处可见的代金券广告被陌生化并转化为抽象的构成形式。材料一旦脱离原有的功能语境，便迫使观众重新审视这些日常中常被忽视的物件。

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《Grocery》**通过对日常印刷品的干预，重新塑造人们对广告纸的感知。作品取材自塞满邮箱、常被随手丢弃的促销传单，通过遮掩、破坏与解构的方式，筛选并屏蔽其中的文字信息，仅保留照片与版面构成。熟悉的代金券与广告语在这一过程中被转化为抽象的视觉形式，脱离原有语境，促使观众重新审视那些原本被习惯性忽视的日常物件。

Hurt seeks to render visible the intangible violence of the internet, with a focus on verbal attacks and abuse on social media. Such forms of aggression, often disregarded due to their lack of physical evidence, can nonetheless be as damaging as bodily injury. The work employs googly eyes as a metaphor for the anonymity of digital platforms, where the absence of identifiable characteristics enables hostile behaviors to proliferate. By invoking our visual and empathetic associations with physical wounds, the project underscores how online violence, despite its immaterial form, can inflict profound psychological and social harm.

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《Hurt》旨在将网络空间中无形的暴力加以视觉化，重点关注社交媒体上的语言攻击与谩骂。此类因缺乏物理痕迹而常被忽视的伤害，其破坏性却可与现实中的身体伤害相媲美。作品中使用的玩具眼睛象征匿名化的网络机制，在这种缺乏个体特征的庇护下，网络攻击行为更易滋生与蔓延。通过借用我们对物理创伤的视觉经验与共情能力，作品强调网络暴力虽属无形，却可能导致深刻的心理与社会层面的损害。