- Flowers
- Zen Branches
- Sitting Still
- Moon Tides
- The Blue Archive of Clay
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2023
In China, when evaluating a photograph, people often praise its ‘texture like an oil painting’. At the same time, many successful artists also try to show a sense of reality similar to photography in their works through superb painting skills. In fact, there is a commonality between art, and contemporary art and contemporary photography influence and blend each other.
Flowers, as the most beautiful symbol in human life, I chose flowers as the subject of my photography to explore the connection between art and photography. I used the technique of multiple exposure to make the photos look like oil paintings under the background of different light and colour. In Chinese art, the changes of warm and cold tones and colours represent different elements and "qi", which can convey different emotions and artistic conception. Through this group of works, I not only hope to demonstrate the close connection between art and photography, but also hope to express my deep affection and emotion for the art of photography.
2023
The branches are like the pulse of the sky. I use this as inspiration to deeply integrate photography art with traditional Chinese culture. I am committed to creating a unique photography book that skillfully combines the magical beauty of nature with the profound heritage of traditional Chinese art. This photo book uses elements of Chinese calligraphy and seal cutting, and uses rice paper as the base material, presenting a wonderful blend of literature and art. Branches in nature play a link between the earth and the sky. They seem to be the pulse of nature, recording the traces of time.
Through my lens I capture the unique beauty of these branches, each photo is a unique gift from nature. However, I am not satisfied with just presenting natural landscapes， but hope to combine these images with traditional Chinese culture to give the photos a more profound meaning.
2024
As a socialist country that promotes atheism, the influence of religious beliefs in China is declining with the rapid development of its modernization and economy. As for Buddhism, the most influential religion in China, in addition to its own attributes of religious belief, its production process necessarily carries with it the commodity attributes of consumerism; in fact, its sacredness has always been inextricably linked to its commercialized and secularized attributes.
In this project, I explored some of the factories that make Buddha statues. In my exploration of the Buddha statues' traceability, I found that many of them were abandoned in the open space outside the factories, and the ones that were being produced were casually placed on the ground or in the corners. Here, the Buddha seems to have lost its divinity and become a pure assembly line product. And those Buddhas that have been discarded and shelved for various commercial reasons have gradually faded in oblivion of a long time.
2024
This photography project originated from my observation of tides and moon phases, and their subtle connection with personal emotions. My hometown Dalian, a coastal city, carries countless memories and emotions between the ebb and flow of the tides. As I travelled between my hometown and my life abroad in London, the natural law of the tides being pulled by the moon's gravity became a metaphor for my personal experience: no matter where I am, the flow of the sea and the moon always connect me to my homeland. By exploring the geography, history and culture of Dalian as well as the scenes of daily life, I try to present in my images the complex and profound relationship between people and places, mapping the ever-changing self-identity like the tidal wave and the flow and continuity of the sense of belonging in the dimension of time and space.
2026
The Blue Archive of Clay explores the cultural significance of Yixing handmade teapots through typological photography and the nineteenth-century cyanotype process. The project brings together eighty-four teapots made by different artists across different periods, materials, and forms. By presenting them in an archive-like structure, I attempt to remove the hierarchy created by authorship, market value, and collectability, allowing each object to be encountered through its form, proportion, and traces of craftsmanship.
Yixing teapots have been part of Chinese material culture for nearly a thousand years. Today, however, the tradition exists within an increasingly commercialised environment, where handmade craftsmanship is gradually overshadowed by industrial production and the symbolic value attached to famous makers. Rather than documenting a disappearing tradition, this project questions how cultural value is constructed, circulated, and perceived in contemporary society.
I employ cyanotype—a photographic process originating in nineteenth-century Europe—as a means of translating an Eastern craft through a Western historical medium. The monochromatic blue removes the natural colour of the clay, directing attention to the silhouette, texture, and physical presence of each vessel. The slow, manual process of producing cyanotypes also echoes the rhythm and labour of handmade teapot making, creating a dialogue between two distinct craft traditions.
Through large-scale cyanotypes, individual prints, and a wordless accordion photobook, The Blue Archive of Clay invites viewers to reconsider these objects beyond their cultural symbolism and commercial identity, asking how their value might be understood through materiality, process, and form alone.