Through documenting my wife's ten-month journey of pregnancy, I explore the subtle shifts in our relationship and the fluid evolution of our identities—a transformation so uncertain that it defies any measure of progress or regression. I deconstruct the overlooked fragments of our daily lives to reconstruct who we are. To us, 'Father' and 'Mother' are alien landscapes, envisioned but never truly known until now. This is a journey of no return, requiring the same reckless courage that once led us into love. We cannot foresee if regrets await, for life is inherently imperfect. Yet, in this moment, I embrace the path ahead with nothing but my love and bravery.

In a chaotic system, it’s impossible to define the positions of perpetrator and victim. As I read through the countless chapters of victimized girls in Bolano‘s 2666, a sense of powerlessness compels me to speculate about the true identity of the perpetrator. These fragments serve solely to visualize some of the fragmented information in my mind, extracted from the world of information, and generate new content within the existing information system. 

I attempt to create a genuine subjective experience, allowing viewers to imagine a series of violent events about sex from these fictional image fragments. This dislocated thinking is very common in life; people's subjective consciousness determines what they see, and what people see is also disciplined and designed. The so-called truth and falsehood often lack definite standards of definition, instead occupying a large gray area in between. This is where most people live. I believe this zone is the oasis of imagination, where countless "subjective truths" are created.

This series represents a fictional investigative dossier. Rather than crafting a continuous visual narrative through traditional photography, my approach begins with a contemplation of the essence of "images." I utilize existing visual materials to construct a narrative within a fictional framework. This choice also signifies the creation of a disjointed timeline, transforming the narrative's timeline into a nonlinear portrayal, aimed at blurring the concept of time and space, thus allowing the narrative images to provide a subjective experiential loop.

Through this process, I aim to create a new set of images that reflect the narrative I've envisioned. As W.J.T. Mitchell suggests, "The world does not depend on consciousness, but the images of the world clearly do."

Since 2020, my emotion have became extremely sensitive because of the change in my lifestyle (covid19), but most of my feeling , yet was exhausted. At that time, the feeling of exhaustion seemed to be innate and everything around me was no charming as before. In a sense, all the things in my eyes were just the extension of pragmatism.
However, I chose to numb myself and use real things to create an ostensible numbness to make myself feel happy. The home quarantine made me more obsessed with sleeping. Compared with the boring reality, the ghostly scenes I had seen in my dreams attracted me. So the gap between reality and fiction prompted me to desperately quarried for a dreamy, flattering, and illusory happiness. I tried to build many artificial sceneries to express what I saw in my dream and even I would use some digital techniques. Maybe only in this way, all my emotions could be diffused in my dream. The Honey Pool was one of scenes in my dream, a colorful lake, it flashed all night, and this beautiful fairyland might be able to console myself and even every lost soul.

Through the lens, these specimens transcend their reality, mirroring the divine presence of temple statues and shifting the narrative from fear to the miracle of life. Using specialized photographic techniques to create an ethereal atmosphere, the images place these "bodies" in a peaceful, womb-like state. Ultimately, the project views these specimens as immortals, defining Niche as a space dedicated to both the divine and the natural world.

My childhood spent in an industrial town in the northeast, and now I still remember the scenes of heavy snow, morning fog, factory, train steam, but that memory is intermittent for me. When I was ten years old, I left my hometown and went to live in the South of China with my parents. After more than a decade, the childhood memories were profound and vague for me, and the warm and full of security days seemed to be covered with snow forever, and it looks like all of these were stayed in that winter. In order to wake up that memory and feeling, I have searched for some traces in my hometown: abandoned radios, old diaries, broken factories... I thought it would be a return to a naive childhood, but I found this memory always to be the puzzle that can’t be completed. It is unrealistic to embrace the past when my consciousness cannot be integrated into the torrent of the past. Later, when I began to restore these gradually blurred pictures and emotions in my memory via photography, I realized that they are not in childhood, nor belonging to the present, but existing outside of time.

 I started planning the shooting of this group of photos from the end of 2016. Most of the photos were taken at night because of the dark environment gave me a feeling of separation and security. Later, in order to increase the expression of memory, I began to blur these scenes by lens refraction, grease application, etc. For me, this is the original memory of my mind, it exists, but it is always vague. Later, I discovered that no matter how hard I try to hug the past, I could not revitalize the complete emotions and pictures. On the contrary, I found that the motivation for shooting always came from the my distant childhood memories. After that, I began to understand that memories do not need to be retrieved. They have been integrated into my body and consciousness. After 2017, my shooting range is no longer limited to my hometown. I started to travel around the country and the shooting direction changed from “memories” to “remodeling”. The next shooting after that , I started using the flash to make the original silent scenes vivid. From the passive search for memory at the beginning, to the spontaneous emergence of them in the end, the memories of me, it began to bloom again in another way.

 I named this group of works " the forgotten fields", not just the memory of the Northeast. I know that my hometown has changed in the moment I left, time has ruthlessly promoted the process of urbanization, and all of what I was familiar with will fade away. But it is important to extract what I think is precious from my life and let them be expressed in a unique form.