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This is the wisdom from the Chinese wet market where you would use the light box to check if the egg is of good quality. If the egg is transparent, it is good. This is a fun experience in the past. Nowadays, people tend to buy packed food from the supermarket. These experiences such as lighting eggs would soon be forgotten and eliminated. To make people re-feel it, I put the words and images from the Encyclopedia of Household Living into eggs and people can discover the words in the past through lighting eggs.

The Encyclopedia of Household Living was popular in China in 1980s, when the Cultural Revolution ended, people’s daily life was out of order. This kinds of books emerged as a life direction for people and comprehensively and deeply picture the life in those years. Similar to the experience of lighting eggs, words in such books are forgotten. So I reactivate them and make people recall and rethink the words and pictures of the past.


Material: Tissue, Eggs, Egg holder, Carton, Lights

Size: 7500mm X 1200mm X 1150mm (variable)




I collaboration with Guangzhou Tram to design a special car for reading. 

How to combine reading with the car and inspire passengers to reflect the local history? Elements such as white papers and black characters, layout, and illustrations, can be converted to combine with different parts of the car. When passengers take the tram they will step into a book and read the content related to the Pearl River.

The car’s side view is posted with verses and poems by ancient poets who traveled along the route. The window is transferred into a moving landscape illustration by the frame, and the text below serves as notes. The past memory pieces, like the reproduction of the history, are overlapped in various corners such as seats, windows and floor to make a dialogue with current scenery. This past-present dialogue presents the feeling of past emotions and disappeared scenery through memories pieces on the region and the Pearl River.


Material: Adhesive stickers, High definition printing
Size: 7500mm X 2350mm X 2280mm




This is to make a dialogue between artworks and local history. In Wuhan, China. It has a folk tale that a yellow crane drawn on the wall of a liquor store by an old man, would come out and dance to the music whenever people drank and sang. Customers were attracted by it and the store was thus prospered. After the old man flew away on the crane, the tower was named as Yellow Crane Tower. Years followed, the tower was torn down, rebuilt and even pushed backward for 1000 meters to give way to the Yangtze River Bridge. 

I discovered the lettering of “Old Haunt of Yellow Crane Tower” and a “Yellow Crane Rock” under the Monument Square of Yangtze River Bridge. I assumed that these are the heritage of the tower. The scattered historical traces form a striking contrast with the magnificent bridge. Intrigued by their relation, I decided to repaint the yellow crane to echo with the legendary crane. By this approach, I convey a subtle relationship between prosperity and decline.


Material: Hollow iron plate, UV printer, Spray 

Size: Facade 4000mm X 3800mm

         Plane 10000mm X 5000mm(variable)




At the beginning of Aug. It was my first time I came to Alfred. In the 3rd floor of Harder Hall, when I went to the restroom I saw several monitors around this space, and there were different video works showing on them. I thought these monitors were the kind of public art form because they showed something in this open space and everyone who goes through will see it.

I was very interested in the public art, so, when the semester started, I plan to use those monitors to make some site-specific video works. Here, I just try to use the video artwork to reconnect those screens and their background. It is a little experiment that I quote images and sentences from the space(Harland Snodgrass Gallery) and reorganize them. In my view, this practice seems like the writing, all the vocabulary and grammar are in this specific site. 

I want to use this “spatial writing” to make some interactions between the site and those screens which enable people to experience more and view the space and its monitors as a whole. 


HD 1920X1080


7channel synchronized video with 4 channel audio 

Streaming video with Bright Author Systerm




I borrowed the “Luminism” which is a term used by the mid-20th Century art historians who rediscovered the Hudson River School to describe some particular aesthetic features from 19th-century American landscape paintings. It is considered as a branch of the Hudson River School. And many art historians summarized and described the definition of “Luminism”, and it became viewed as an important painting style which reflects American culture and its concepts toward this land.
I am quite interested in people’s concept about and perspective on the landscape ,because they indicate a process of the transformation of the American national vision. In the beginning, the pioneers, earlier settlers and travelers projected their homeland’s vision onto this new territory. As time went by, these initial conceptions changed and some artists used painting to express their new understanding of the American natural environment. “ Luminism” was one of the labels of these paintings.
Through my research on the art history. I found that the art historians tried to distinguish the difference between landscape painting of Europe and of American, such as the skill, the color and their concept of nature. This change from people projecting their homeland’s visions and identities onto nature to artists and art historians projecting their new concepts onto the landscape intrigues me. The comparison between the former and the latter reveals a lot about American culture and national identity. So, I want to use the artwork to probe this historical process and try to understand the relationship between the landscape, national visions and culture.


3channel synchronized video
Lighting projection, Gopro camera


2019. 04


Egress began with the pathway of the Robert C. Turner Galley, a two-floor space where I presented my thesis show. The unusual design of the gallery is such that if the audience wants to go to the second level, they have to use the elevator or stairway outside the gallery. My question was how to continue the show when audiences paradoxically leave the gallery to get to the second floor of the gallery. For me, the elevator or stairway is not only the physical break of the space but also the cut (interruption) of the exhibition.

I observed the movements of people in the space. I found that they usually use the stairway to get to the upstairs. The interesting thing is that the stairway is used for egress, a pathway for escape. This special function of the space intrigues me. It partly defines people’s behaviors and activities in the space. 

I made several artworks based on this egress route of the gallery. Egress is an indispensable system of every building. However, very few people will notice or even read egress information when they use the space. The images and texts of the egress system are institutional and unemotional. They are highly reduced and minimal information formats just for telling people the rules for leaving the building in an emergency. 

I used these texts and images to create different versions of the egress information. For a person (like me) who focuses only on the egress system, the audience using the stairway to get to the second floor can actually be viewed as escaping from the gallery, even it is not their purpose. This architectural feature forces viewers to move through the egress space. How to reinterpret the egress system that enables people to reexamine them as an aesthetic object became the motivation of the Egress project.