Through formats of sculpture and wall-mounted relief, I present the theme of contemporary urban life and social events such as politics and sports with a focus on realism and a playful, satirical and multifaceted narrative, that can make us realize the often absurd nature of the environment we’re currently living in. I received my BFA Degree in Sculpture from China Academy of Art and my MFA Degree in Sculpture from New York Academy of Art. I’m also an adjunct faculty of New York Academy of Art. Having been living in a cross-cultural environment for an extended period, I see myself as an experiencer, observer, and creator of multiculturalism. My recent work has primarily focused on two types of compositions. The first involves the re-interpretation of collective memories through public imagery, such as social events in politics and sports. In this context, I find that each image carries a dual significance—of the event itself and of the image as a representation. The second type is based on experiences and perceptions drawn from my private life. While the former is connected to the social realm, with scenes and events traceable through media imagery, the latter is fictional, dreamlike in nature, without any reference to public images. All pieces in this series together constitute a theater of the world, spanning from 1990s to 2020s with location moving from China, Japan, Afghanistan, France, Germany, the United States, to Russia; depicting scenes from stadiums, amusement parks to subways, dining tables with figures such as athletes, politicians, film and television characters, animated characters, and my own family and friends. In these works, I enjoy presenting layered “scenes” that range from real public events—such as news events and sports competitions—to entirely fictional scenes, like the surreal accident site depicted in The Death of the Dragon. Through these varied scenes, I aim to pull the audience from reality into a series of staged, theatrical narratives that I direct. By viewing these scenarios from a distanced perspective, viewers may notice the absurdity in familiar situations. In this way, the world becomes a vast film set, and we are mere spectators.

Through formats of sculpture and wall-mounted relief, I present the theme of contemporary urban life and social events such as politics and sports with a focus on realism and a playful, satirical and multifaceted narrative, that can make us realize the often absurd nature of the environment we’re currently living in. I received my BFA Degree in Sculpture from China Academy of Art and my MFA Degree in Sculpture from New York Academy of Art. I’m also an adjunct faculty of New York Academy of Art. Having been living in a cross-cultural environment for an extended period, I see myself as an experiencer, observer, and creator of multiculturalism. My recent work has primarily focused on two types of compositions. The first involves the re-interpretation of collective memories through public imagery, such as social events in politics and sports. In this context, I find that each image carries a dual significance—of the event itself and of the image as a representation. The second type is based on experiences and perceptions drawn from my private life. While the former is connected to the social realm, with scenes and events traceable through media imagery, the latter is fictional, dreamlike in nature, without any reference to public images. All pieces in this series together constitute a theater of the world, spanning from 1990s to 2020s with location moving from China, Japan, Afghanistan, France, Germany, the United States, to Russia; depicting scenes from stadiums, amusement parks to subways, dining tables with figures such as athletes, politicians, film and television characters, animated characters, and my own family and friends. In these works, I enjoy presenting layered “scenes” that range from real public events—such as news events and sports competitions—to entirely fictional scenes, like the surreal accident site depicted in The Death of the Dragon. Through these varied scenes, I aim to pull the audience from reality into a series of staged, theatrical narratives that I direct. By viewing these scenarios from a distanced perspective, viewers may notice the absurdity in familiar situations. In this way, the world becomes a vast film set, and we are mere spectators.