如今我们生活在“仿像世界”里，被无限的图像、数据、视频等环绕着，当我们认为每一步都离 真相更接近的时候，巨大的罗生门也在不断的产生。2017-2019年期间我带着相机去了很多不同 的国家旅行，试图脱离这看似一切都在人工智能掌控的时代，回归到原始的万物有灵的世界中 去，除开冰冷的数据与编码，我更想把思考和想象留给自己，我喜欢举起相机这个动作，因为 每一个“瞬间的世界”都是基于本我展开的，它将会不断绵延开并且影响下一个“瞬间的世界”。这 个世界潜在的感知画面与色调通过黑白感光胶卷与现实空间事物合，如镜子、海面、窗户等折 射而唤醒二维的超现实世界。我希望每一步的行走都是向自由的想象靠近，在尝试不断打破传 统美学的禁锢的同时用看似柔软细腻的光线、线条去构建一个可供人类情感冥想的场域，同时 也用这种力量去反抗这个荒诞的世界。

Now we live in the “simulacrum world”, surrounded by infinite images, data, videos, etc., when we think that each step is closer to the truth, the huge Rashomon continuously produces at the same time , during 2017-2019 I took a film camera to travel to many different countries, trying to get out of this era where everything seems to be under the control of artificial intelligence, and return to the primitive and spiritual world，apart from the cold data and coding. I prefer to leave more imagination and thought to myself. I enjoy the behaviour of lifting the camera, because each “instantaneous world” is unfolded based on id, it will continue to spread and affect the next “instantaneous world”. The potential images and tones of this world are combined with real-world objects through black and white film, such as mirrors, sea surfaces, windows, etc., to reflect the two-dimensional surreal world. I hope that every step of walking is closer to the free imagination. While trying to continuously break the imprisonment of traditional aesthetics, I use seemingly soft and delicate light and lines to reconstruct a field of human emotional , and also use this energy against this absurd world.