Films
The Folds of Painting 绘画的展褶
2026
This short film is a visual extension of my exploration in the ‘Deterritorialization of Painting’. The orb, stick, and steel connectors within the film are functionless—they exist as units of form, corresponding to the point, line, and plane in painting.
Silver clothing, objects, and wire form the 'unity' in my paintings. Silver wire connects points, lines, and planes. This connection is not compositional integration, but rather the temporary establishment of relationships. Yellow pigment, as the sole emphasized color in the work, becoming a visual anchor that traverses the medium.
The double-screen structure is not a narrative division but a juxtaposition of two viewing states—a device that rejects a singular viewing stance, an anti-narrative strategy.
It is not a translation of painting, but rather painting unfolding within the dimension of time: painting is deterritorialized from the plane, entering motion, becoming a continuously generated process.
这部短片是我对‘绘画的解域’的一次影像化延伸。影像中的圆球、棍子与钢铁连接件是去功能化的，他们是形式单位，分别对应绘画中的点、线、面。它们在空间中被移动、摆放、连接。这种状态并不指向建构，而更接近德勒兹在《千高原》中所描述的解域过程——要素脱离原有疆域，在新的关系中获得运动性，而非完成性。
银色的服装、器物与铝线，构成了我绘画中的“统一性”。银线将点、线、面连接。这种连接不是构图意义上的整合，而是一种关系的暂时成立。黄色颜料在画面中作为唯一被强调的色彩，成为穿越媒介的视觉锚点。
双屏幕结构并非叙事分割，而是两种观看状态的并置，是拒绝单一观看立场的装置化处理，是一种反叙事策略。左屏是模糊的黑白，仅保留黄色，是对绘画统一性的抽取；右屏则保留完整的色彩。二者之间不存在主从或解释关系，而构成一种德勒兹在《褶子》中出现的概念，连续变化和内在生成。是同一结构在不同折叠层级中的显现。
这部短片不是对绘画的翻译，而是绘画在时间维度中的展开：绘画从平面中被解域，进入运动，成为一种持续生成的过程。
soma&architecture
2023
https://youtu.be/lKsao93sDe8
‘soma&architecture’ is a black-and-white, two-screen experimental video aimed at exploring the relationship between the individual's identity and architectural identity and a new language for films in which the subjects are the female human body and interior architectural structures.
The beginning of the film starts with the elements of dots, lines and surfaces, four water drops lead to the four sections of the film: arm 1, arm 2, leg and head. As the four drops converge, the whole human body emerges, the distinction being made in a semiotics way.
This relationship of identity is about the visual structure and is based on the structure of the language of painting, exploring the black, white and grey of the human body in the camera's perspective and the rhythm and variation of lines and shapes, and contrasting them with architecture and installations. On the same way of decoding the information of the picture (the brain), the symbols of identity in its visual meaning are explored, which is a study about the history of the image.
The two-screen image does not have a centre, but interacts in real time through a fluid montage, allowing the viewer to simultaneously feel the visualised significance of individual identities and man-made objects.
《soma&architecture》是一部旨在探索个体身份和建筑身份的关系和短片的新语言的黑白双屏实验影像，对象是女性人体和室内建筑结构。
短片的开始以点线面元素进场,四个水滴引出短片的四个段落：手臂 1, 手臂 2, 腿部，头。随着四个水滴的汇聚，最后是整个人体，这个区分是符号学意义上的。
这个身份关系是基于视觉结构与绘画语言结构展开研究的，探讨的是镜头视角中的人体的黑白灰与线条与块面的节奏与变化，并使其与建筑和装置对比。在同一种对图片信息的解码的方式上（大脑），展现其视觉意义上的身份象征，是关于图像的历史学的研究。
双屏影像没有一个中心，是通过流动的蒙太奇而实时交互的，观众可以同时感受到个体身份与人造物的视觉化关联意义。
2'13''
2'33''
2'39''
3'04''
1'04''
0'36''
Photographic works
摄影作品
Trap 1
Trap 2
A Poem of the Waste Land 废土之诗
2022
https://youtube.com/shorts/R2VuJK-GHTs
A short film with a poetic structure ......
There was no variation in the emptiness，
The thoughts of the beings are often intertwined
一部诗结构的短片……
空旷中没有丝毫变化，
存在者的思绪常常交织
Evaporating Touch 触觉的流失
2021
https://youtu.be/72gRh1cUWo8
This film is an extension of some of the insights in Guy Debord's ‘The Society of the Spectacle’, with some thoughts drawn from personal circumstance and experience.
The relationship between spectacle and the individual? The motivation for the process of human urbanization? Will this lead to revolution? Is it necessary for a revolution to occur and its consequences?
But the protagonist's attempt to make a revolution forgets the necessity of integrating and analysing its surroundings and its causes, and this means of extraction and alteration is actually based on the same principle of the landscape's enslavement of the viewer. In the end, we find that all that can be done is to reveal this unstoppable trend.
本片是对居伊德波《景观社会》中一些观点的延伸，结合个人环境和经验而得出的一些感慨。
景观与个体的关系？人类城市化进程的动机？这会引来革命吗？革命是否有必要出现及其后果？
但主角试图革命的做法，忘记了必须结合与分析它的周遭因素和产生原因，而这种抽离与改变的手段居然与景观奴役观者的原理相同。最后，我们发现能做的仅仅是揭示这个不可阻挡的趋势。