Mix Media
23*18cm
20*25cm
In this work, I used a mix of media and materials to create the work. I first visited the buildings in different areas of Paris documented them through photographs, and then digitally illustrated them with graffiti paintings on the doors. Afterward, I printed out the paintings and placed them in another location in Paris. In this way, two unconnected addresses are connected. In this work, I mainly consider the locality of the artwork and the relationship between art and the city, between the viewer and the creator. The door is the real-world gateway between private and public spaces. In legend, it is also a way to connect different worlds. In my series of works "The Doors of Paris", I experimented with various combinations of materials and media. I paint monsters and mythical creatures inside real doors to realize my fantasies. In this way, I want to connect my paths and invite people into my fantasy world. I believe that what makes art is not only the work itself but also the process of its development and its interactivity with the viewed and even its relationship with the city.
23*18cm
20*25cm
In this work, I used a mix of media and materials to create the work. I first visited the buildings in different areas of Paris documented them through photographs, and then digitally illustrated them with graffiti paintings on the doors. Afterward, I printed out the paintings and placed them in another location in Paris. In this way, two unconnected addresses are connected. In this work, I mainly consider the locality of the artwork and the relationship between art and the city, between the viewer and the creator. The door is the real-world gateway between private and public spaces. In legend, it is also a way to connect different worlds. In my series of works "The Doors of Paris", I experimented with various combinations of materials and media. I paint monsters and mythical creatures inside real doors to realize my fantasies. In this way, I want to connect my paths and invite people into my fantasy world. I believe that what makes art is not only the work itself but also the process of its development and its interactivity with the viewed and even its relationship with the city.
Mix Material
Propylene, Wood frame, Metals, Cystals
25*15cm
17*12cm
12*9cm
12*9cm
I've always had a natural fascination with objects, and in this work, I wanted to create a vivid room for women by composing scenes. This work was born in Paris, I collected vintage photo frames during my exploration and search of the city, observing every woman with delicate jewelry passing by. I believe that art is not only about the presentation of a single image. What makes art is not only the work itself but a visualization that evokes a common feeling in others.
Propylene, Wood frame, Metals, Cystals
25*15cm
17*12cm
12*9cm
12*9cm
I've always had a natural fascination with objects, and in this work, I wanted to create a vivid room for women by composing scenes. This work was born in Paris, I collected vintage photo frames during my exploration and search of the city, observing every woman with delicate jewelry passing by. I believe that art is not only about the presentation of a single image. What makes art is not only the work itself but a visualization that evokes a common feeling in others.
Watercolor
29.7*21cm
Moodlight brings a flow of emotions and taps into new feelings. This is a series about intuition, I was recording a flow of emotions, trying to trust my instincts completely.
29.7*21cm
Moodlight brings a flow of emotions and taps into new feelings. This is a series about intuition, I was recording a flow of emotions, trying to trust my instincts completely.
Photo paper, Digital illustration
17.8cm*12.7cm
“Vcagmo” comes from the Tibetan legend, scattered in the dark corners of the night horror imagery, they are called "the name that can not be called", their bodies are piled up with the two elements of good and evil, and her soul has become the tentacles of the darkness without any sense of autonomy.
Vcagmo combines female and undead consciousness to create a paradoxical body that coexists in the same body: she may start as a beautiful young woman, but in adulthood, she is said to "go out of her body" without any autonomy and to harm all living beings. The monastery then takes her form, makes her into a doll, and seals her in chains to signify that she has become a member of the Vcagmo.
They were originally only grassland girls, is a long time to live in the beautiful, but the invisible shackles of tradition will be embedded in their lives in the religious assessment of good and evil. As a result, their figures have undergone a brutal transformation from human to ghost and then to god. This situation seems to be a step away, but it is very difficult. There are hardly any worldly protector gods like Vcagmo, who can simultaneously replace the three subjects: human, ghost, and god.
What sets Vcagmo apart from the other protectors is that they are living individuals, creating imagery of female horror with exaggerated and demeaning specific physiological constructs, which I believe reflects a subconsciously concentrated male rejection of feminism, similar to the witch-hunting movement, as the criteria for being rated as a Ram are set by men, and there are no male Ram's.
In this work, I have collected old photographs of Tibetan women with hand-painted demonic masks blocking out their original faces. When a woman is recognized as a Vcagmo, the rest of her life is not easy. They are stripped of their real names and slowly disconnected from society until they are very far away. Once placed in the pantheon, they are turned around and abandoned, discarded, and forgotten as the norm.
17.8cm*12.7cm
“Vcagmo” comes from the Tibetan legend, scattered in the dark corners of the night horror imagery, they are called "the name that can not be called", their bodies are piled up with the two elements of good and evil, and her soul has become the tentacles of the darkness without any sense of autonomy.
Vcagmo combines female and undead consciousness to create a paradoxical body that coexists in the same body: she may start as a beautiful young woman, but in adulthood, she is said to "go out of her body" without any autonomy and to harm all living beings. The monastery then takes her form, makes her into a doll, and seals her in chains to signify that she has become a member of the Vcagmo.
They were originally only grassland girls, is a long time to live in the beautiful, but the invisible shackles of tradition will be embedded in their lives in the religious assessment of good and evil. As a result, their figures have undergone a brutal transformation from human to ghost and then to god. This situation seems to be a step away, but it is very difficult. There are hardly any worldly protector gods like Vcagmo, who can simultaneously replace the three subjects: human, ghost, and god.
What sets Vcagmo apart from the other protectors is that they are living individuals, creating imagery of female horror with exaggerated and demeaning specific physiological constructs, which I believe reflects a subconsciously concentrated male rejection of feminism, similar to the witch-hunting movement, as the criteria for being rated as a Ram are set by men, and there are no male Ram's.
In this work, I have collected old photographs of Tibetan women with hand-painted demonic masks blocking out their original faces. When a woman is recognized as a Vcagmo, the rest of her life is not easy. They are stripped of their real names and slowly disconnected from society until they are very far away. Once placed in the pantheon, they are turned around and abandoned, discarded, and forgotten as the norm.