Being series

This work is a satirical take on the absurdity of modern corporate life.

恐惧起于我执之妄，苦痛生于攀比之执。皆因二元对立，而二元亦皆虚幻。然身居尘寰，难以脱身，故宜视人生若游戏：行事无执，局罢即忘。

恐惧起于我执之妄，苦痛生于攀比之执。皆因二元对立，而二元亦皆虚幻。然身居尘寰，难以脱身，故宜视人生若游戏：行事无执，局罢即忘。

We enter a world whose purpose we never learn, yet spend our lives enacting roles we never chose. Like terracotta warriors, we bear responsibilities carved into us by unseen hands, standing faithfully in formations whose meaning is never revealed.

The ’80s sang with colour and excess—an age of booming markets and liberated desires, dressed by the daring hands of Versace, Gaultier, and Montana. Now the song has quieted. We enter a second loss of innocence, sobered by capitalism’s cracks, shrinking horizons, and a world no longer racing upward.

This work captures the fragile, weighty moment before crossing into the unknown. The title itself holds dual meaning—both the literal threshold of a door and the invisible yet formidable barriers that stand before us. The composition lingers in this tension—between movement and hesitation, between aspiration and self-doubt. In this suspended breath before decision, the artist is both inside and outside, belonging nowhere yet standing on the precipice of possibility.

人生仿佛漂浮在一层隐秘的悲哀之上，那悲哀多时隐蔽，时而显露，虽不显眼，却始终如影随形，构成了存在的底色。

“Bus Trip” is a portrait of existence in transit. Strangers sit together, each convinced of a chosen destination, yet no one recalls why they boarded or who set the route. The bus becomes a vessel of fate, raising the uneasy question: do we steer our lives, or are we merely carried along? In this suspended journey, free will feels like an illusion and purpose a distant rumour.
车厢在光影中缓缓前行，众人各自沉默。无人记得为何上车，也不知终点何处。或许，我们只是被时间载着的漂流者——自以为在选择，却从未掌舵。

This work captures the fragile, weighty moment before crossing into the unknown. The title itself holds dual meaning—both the literal threshold of a door and the invisible yet formidable barriers that stand before us. The composition lingers in this tension—between movement and hesitation, between aspiration and self-doubt. In this suspended breath before decision, the artist is both inside and outside, belonging nowhere yet standing on the precipice of possibility.

Here, the artist contemplates the essence of being through the quiet presence of family and nature. Rooted in Heidegger’s idea that an individual is shaped by their relationships with others (Das Man) and their environment (die Erde), the painting reveals a moment of existential clarity. The artist sits with family beneath a tree—a symbol of the natural world that grounds existence.
To the viewer, this scene is more than a personal memory; it is an open invitation to reflect on how one’s being is intertwined with the world. In observing the work, the viewer participates in this revelation, witnessing the artist’s position in the fabric of existence. Through this act of seeing, the boundaries between self, others, and nature dissolve, leaving only the quiet truth of being-in-the-world.

In this work, the artist again delves into the ordinary to capture a young, perhaps newlywed couple, standing poised at their doorway. This piece is part of the artist's "Satires" series, a sadonic exploration of the lost normalcy faced by artists. Through the lens of satire, the painting conveys a theme of alienation and desolation, drawing inspiration from Hopper's style. Infused with a subtle yet intriguing eroticism, it invites viewers to reflect on the intimate moments of young couples within the confines of their homes.