流动的环形轨迹体现了一种无始无终的时间模型。通过持续不断的旋转与重叠，它消解了中心与边缘之间的界限，使语言从承载意义的容器，转化为一个不断生成的能量场。

形式的持续回返与消散，使个体经验在重复之中逐渐淡去。

The flowing circular trace embodies a model of time without beginning or end. Through perpetual rotation and overlapping, its dissolutions the boundaries between centre and edge, as language evolves from a vessel of meaning into a field of energy in constant generation.

The continuous return and dissolution of form cause individual experience to fade within repetition.

外卖包装废弃物污染，主要由外卖消费过程中产生的食物浪费与包装浪费所驱动，自新冠疫情以来进一步加剧。随着封锁措施推动移动端点餐迅速增长，外卖服务的广泛使用显著加重了环境污染，并引发了相关的健康担忧。尤其是过度包装——表现为层层包裹、不必要的空隙、高材料成本以及不恰当的材质选择——已成为这一问题的重要成因。

通过将视角转向日常个体消费，本项目考察了废弃物如何被生产、感知并逐渐内化，从而揭示其对行为方式与材料选择所产生的影响。这些不同层面的观察共同构成了一条批判性的叙事线索，将消费社会中的系统结构、公众认知与个体生活经验连接起来。

本项目以多层次、数据驱动的方式探讨外卖包装污染问题。通过分析社会、区域与环境数据，它揭示了外卖消费快速增长与污染不断加剧之间的关联。同时，它也指出了一个关键悖论：尽管公众对此议题的认知普遍较高，但无论在政府层面还是社会层面，这一问题仍未得到充分应对。

Food delivery package waste pollution, driven by food and packaging waste from takeaway consumption, has intensified since the COVID-19 pandemic. As lockdowns accelerated mobile food ordering, the widespread use of takeaway services significantly increased environmental pollution and raised related health concerns. In particular, excessive packaging—characterised by multiple layers, unnecessary empty space, high material costs, and inappropriate material choices—has become a major contributor to this issue.

By shifting focus to everyday individual consumption, the project examines how waste is produced, perceived, and internalised, uncovering its impact on behaviour and material choices. Together, these perspectives form a critical narrative connecting systems, awareness, and lived experience within a consumption-driven society.

This project explores Food delivery packaging pollution through a multi-layered, data-driven approach. By analysing social, regional, and environmental data, it reveals the link between the rapid growth of takeaway consumption and escalating pollution. It also highlights a key paradox: while public awareness is generally high, the issue remains insufficiently addressed at both governmental and societal levels.

当盾构机穿凿中山的老街时，骑楼的木梁在尘雾中断裂。我注视着这座城市的表皮被一层层剥离：砖纹、花窗，以及街巷生活的喧响——这些曾被视为“落后”的事物，正被平整的柏油路和玻璃幕墙所吞没。这张长椅，是我为城市被遗忘的角落编织的一具身体。

它的骨架取自拆解下来的旧木，外覆一层由废弃地毯与凝胶蜡融合而成的肌理。

我将广东立体花窗的纹样压印于其表面，让那些褪色的图案在半透明的蜡中重新呼吸，仿佛是被封存于时间中的城市指纹。长椅的腿部是由尖锐金属刺与蜡线交缠而成的结晶体——工业的坚硬在编织中逐渐软化，最终渗入蓬松的羊毛：这既象征着工业化对乡村的侵入，也象征着记忆对创伤的温柔包裹。羊毛从金属的荆棘中生长出来，仿佛一只从废墟中伸出的手，试图抓住一丝正在消逝的温度。

在影像中，母亲的织针在光影间穿梭，一团灰黑色的毛线从她指尖垂落，如同一条连接过去与现在的脐带。我坐在她身旁，接过她手中的线——从笨拙的打结到流畅的针脚，我们的动作承载着两代人对“旧物”的执念：她编织家的温度，我编织城市的痕迹。当我最终坐上她的位置，织针的节奏与城市施工的轰鸣形成对位。

原来，对抗遗忘最坚韧的方式，从来不是执着于废墟，而是让记忆在代际的指尖之间流动，让旧有的肌理在新的编织中继续生长。

As tunnel boring machines carve through Zhongshan’s old streets, the wooden beams of the arcades snap amid dust and mist. I watch as the city’s skin is peeled away layer by layer: brick patterns, floral window grilles, and the hum of street life—once dismissed as “backward”—are being smothered under smooth asphalt and glass curtain walls. This bench is a body I have woven for the city’s forgotten corners. Its skeleton is hewn from dismantled old wood, cloaked in a texture fused from discarded carpet and gel wax. I have pressed Guangdong’s three-dimensional floral window tracery into its surface, letting faded patterns breathe within the translucent wax, like city fingerprints sealed in time. The bench legs are crystalline tangles of sharp metal spikes and wax thread—industrial rigidity softens gradually in the weave, finally bleeding into fluffy wool: an incursion of industrialization into the countryside, and a gentle wrapping of memory around trauma. The wool grows from the thorns of metal, like a hand reaching out from the ruins to clutch a fading warmth.

In the video, my mother’s knitting needles move through light and shadow, and a skein of gray-black yarn falls from her fingertips, an umbilical cord linking past and present. I sit beside her, taking up the yarn—from clumsy knots to fluid stitches, our movements hold two generations’ obsession with “the old”: she weaves the warmth of home, I weave the traces of the city. When I finally take her place, the rhythm of the needles counterpoints the roar of urban construction.

It turns out that the sturdiest resistance to forgetting is never clinging to ruins, but letting memory flow between intergenerational fingertips, and letting old textures continue to grow within new weaves.

我的创作探索的是那些存在于自然环境与人造环境之中的“无形边界”。这些边界并不总是以可见的物理形式出现，却持续不断地规范着人们如何穿行、感知并体验空间。

我从有机地貌与人工系统之间的对比中汲取灵感——例如稻田中自然流动的纹理，与交通标识、道路护栏等城市系统中僵硬的线性秩序——并由此发展出一系列线性图案，用以呈现自然生成与人为干预之间的张力。

这些形状不仅仅是视觉元素，也承载着控制、记忆与空间分隔的痕迹。即使它们逐渐隐入背景，甚至变得难以察觉，其影响依然持续存在——以微妙却有力的方式引导身体、组织移动，并塑造行为。

从这个意义上说，这件作品所反思的是一种并不总能被看见、却能被深刻感知的边界。它们存在于可见与不可见之间的缝隙之中，像回声而非实体，提醒我们：缺席并不等于不存在。

My work explores the presence of invisible boundaries thatoperate within both natural and constructed environments. These boundaries are not alwaysphysically apparent, yet they

continuously regulate how space is navigated, perceived, andexperienced.

Drawing from the contrast between organic terrains—such asthe flowing grooves of rice fields—and rigid urban systems like traffic signs and roadbarriers, I developed a series of linear patterns that embody the tension between naturalformation and human intervention.

These shapes function not only as visual elements, but astraces of control, memory, and spatial division. Even when they fade into the background orbecome imperceptible, their influence persists—guiding bodies, structuring movement,and shaping behavior in subtle yet powerful ways.

In this sense, the work reflects on boundaries that are notalways seen, but deeply felt. They exist in the gaps between visibility and invisibility, as echoesrather than objects—reminding us that absence does not equate to non-existence.

“进士”是中国古代科举制度中的一种荣誉功名。在客家宗族文化中，进士匾额常被供奉于祠堂之中，作为家族荣耀的象征；其名称本身也带有“不断向前”的寓意。然而对于今日的客家社群而言，这种承诺似乎已显得遥远，取而代之的是撤退与衰落的现实。

一块蒙着尘灰的进士匾至今仍悬挂在宗祠之中，静静守望着一座座空置的房屋。在它的静默之中，它依然坚持存在，而人们却不断离去，离开村庄，四散他方，去寻找另一种“前行”的可能。

“Jinshi” was an honorary degree in the imperial examinations of ancient China. Within Hakka clan culture, a Jinshi title was often preserved in the ancestral hall as a symbol of family honour, its name meaning “one moves forward.” For Hakka communities today, that promise feels distant, shaped instead by retreat and decline. A dust-veiled Jinshi plaque still hangs in the clan hall, keeping vigil over empty homes. In its stillness, it perseveres as people drift away, leaving the village behind, scattering in search of a different way forward.

Jinshi is an experimental video work. It draws on personal visits to ruins and experiences of funerals to explore the features of Hakka architecture. The work begins with the last time I accompanied my grandfather back to the remote village for a funeral, and ends with the most recent return for his funeral. Through this journey, the sense of unity within a clan slowly falls apart from the inside.

这个项目探讨了晚宴文化中所嵌入的社会关系与身份问题。通过将一套“动物系统”引入人类的进食行为之中，作品以一种讽刺性的方式反思：在当代晚宴文化里，人们如何逐渐失去了对食物最本能的回应。

作品以“动物剧场”的形式呈现，其中食物、纺织物与场景均由艺术家亲手制作与搭建。

结合直接的现实感与现场事件的偶然性，这场剧场在三小时内展开，重构了一次晚宴聚会的完整过程。在这一环境中，动物不可预测的行为不断介入材料与场域的形成，并最终塑造了整个空间。作品中的材料变化同样由动物不确定的行动所决定，从而生成了对空间的二次创作。

通过将一个可见的场景与不可控的行为并置，作品回应了隐藏在晚宴文化表层之下的社会结构、身份关系与权力机制。看不见，并不代表不存在。

This project examines the social relationships and questions of identity embedded within dinner party culture. By introducing an animal system into human eating behaviour, the work satirises and reflects on how, within contemporary dinner party culture, people have gradually lost their most instinctive response to food.

The work is presented as an “animal theatre,” in which the food, textiles, and setting are all handmade and constructed.

Combining a direct sense of reality with the contingency of a live event, the theatre unfolds over three hours and reconstructs the full process of a dinner gathering. Within this environment, the animals’ unpredictable behaviour continuously intervenes in the formation of the materials and the site, ultimately shaping the entire space. The material changes within the work are likewise determined by the animals’ uncertain actions, producing a secondary creation of the space.

By placing a visible scene alongside uncontrollable behaviour, the work responds to the social structures, identities, and power relations concealed beneath the surface of dinner party culture. What is unseen does not mean it does not exist.

《Vanishing Rivers》运用实时渲染与多通道影像，呈现河流从丰沛流动走向完全干涸的动态过程。作品在宏观的河流景观与微观的水生生态系统之间不断切换，捕捉水位退缩、河床裸露以及生物活动受限等细微变化。工业遗迹与荒芜地貌交织并置，象征着人类对水循环持续不断的干预与破坏。

作品通过水声、风声与开裂声营造出一种紧张而沉浸的氛围，使观者意识到环境失衡的现实，并进一步思考水资源危机与我们未来生活之间的关联。

Vanishing Rivers employs real-time rendering and multi-channel imagery to depict the dynamic process of rivers transitioning from abundant flow to complete desiccation. The work shifts between macro river landscapes and micro aquatic ecosystems, capturing subtle shifts in receding water levels, exposed riverbeds, and constrained biological activity. Industrial relics intertwine with desolate terrain, symbolising humanity’s persistent disruption of the water cycle.

The work creates a tense, immersive atmosphere through the sound of water, wind, and cracking sounds, making people aware of the imbalance in the environment and thinking about the connection between the water crisis and our future lives.

《Track Me Here》是一件实验性艺术作品，将熟悉的日常路径与陌生的探索方式连接起来。作品以城市中的“漂移式”步行为方法，记录由空间、时间与移动共同塑造的轨迹模式，并以独立盒装作品的形式呈现。它起始于艺术家对传统地图的个人疏离感，并进一步探讨步行如何影响我们对空间的感知。

通过从熟悉地点出发，分别向南、东、北、西进行一系列1000米步行，作品揭示出：衡量我们与地点之间心理连接的，往往并非物理距离本身，而是时间。通过这一过程，作品以创造性的方式重新描绘日常生活的路径，并通过移动、记忆与材料形式，重新建立与城市之间的联系。

Track Me Here is an experimental art piece that connects familiar routines with unfamiliar mode of exploration. It documents patterns shaped by space, time, and movement through dérive-style walking in the city, presented in individual box sets. Beginning from a personal disconnection with traditional maps, the work investigates how walking influences our perception of space.

Through a series of 1000m walks from familiar locations, starting from the South, East, North, and West, it reveals how time measures our psychological connection to place more than physical distance. Through this process, the artwork creatively remaps everyday routines and re-connects with the city through movement, memory and material form.