In my creation, I try to keep the language coherent in both concept and form as much as possible, and use a deconstructed method to incorporate (plain) materials, (simple) structure and (simple) space into the overall relationship of creation. In other words, the choice of objects and the form of the work are directed towards a visual language—both private and public, natural and artificial, stable and moving. By reordering the "uncertainty" of the state of things in a Zen-inspired way, the still and impermanent state of things and their implied human meditation are reproduced.
It is based on this dimension that I try to get rid of the original state of the material and construct a new language and chain of meaning from different relationships - to discover new meanings that are generated instantaneously in the process of changing and recombining states. Specifically, I rearrange and combine materials so that they appear to be "separated" but are actually "generated", so as to break away from the expression of objects and reveal their "original states". Through this kind of analysis or combination of things, the old things are given new life, and then the new state of existence and its conceptual connotations generated by the reorganization of the things are expressed.
