'JUNGLE', detail
'JUNGLE', detail
'JUNGLE', detail
'JUNGLE', cover
'JUNGLE', detail
'JUNGLE', detail
'JUNGLE'
2024
Photography by Naiyue Zhang, illustration by Cui
20×15cm, inkjet printing, saddle stitch binding, 26 pages
Trains, ruffled collars transformed into coiled serpents, watery waves raised between hairs. Hurried, chambered, hiding among the branches and leaves. We chase in a blur. A tiny breath emerges from the jungle, a million transparent stars explode.
'And So We Put Goldfish In The Pool' unfold
'And So We Put Goldfish In The Pool' detail
'And So We Put Goldfish In The Pool' cover
'And So We Put Goldfish In The Pool'
2023
5*5cm(Expanded 50*15cm), inkjet printing, free fold, 12 sides
The title of this book is taken from a Japanese short film. Noisy cicadas and uninteresting youth flicker between the sheets of paper. Time is stretched and a flash of madness can be glimpsed between the gaps. In the end, a long silence and relentless omission remain.
'The Fold' cover
'The Fold' detail
'The Fold' detail
'The Fold' detail
'The Fold'
2021
22×12cm, silk printing with PVC covers, singer sewn binding, 20 pages
According to Gilles Deleuze, the fold is self-generated; the fold is the world; the fold is everything; the fold is found ni al directions; there is no first origin; the fold is always ni contact with the outside world; the fold is constantly creating folds until infinity.
The work attempts to break the impression of what summer looks like, using the material properties of silk to reconstruct the perspective and the way we see nature. Through it, we deepen our perception from blur to clarity and back again, feel the connection between the individual and the world, and renew the perceptual experience of external objects in the human mind.
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'Dance With (?)' unfold(back)
'Dance With (?)' unfold(front)
'Dance With (?)' detail
Dance With (?)
2021
19×15cm, inkjet printing, saddle stitch binding and accordion fold, 6 pages(front) and 5 sides(back)
Is today aqua or rose?
Aflashback to the broken memories of reality and illusion, metaphors and emotions intertwined, repressed and buried. Perhaps one has long sine been hidden ni the light, never to walk out again.
The work is both outward and inward. It enters from an emotional point of entry, looks at the world as it appears, and then looks back soberly, proposing a reflection on visual forms of viewing.
'Messages From Apresunday' detail
Messages From Apresunday
2021
20×20cm, inkjet printing, saddle stitch binding, 12 pages
The first impression plays a major role in the creation of a code name, while the second and third impressions also shape the code name. And how do codes relate tothings? Is the earth 'earth'? Are emotions 'emotions'?
The messages we receive as we face the world are cumulative. Beyond the infinite cycle of seven days, we may be conveyed apurer experience of viewing.
Through the lens, the work seeks to explorethe possibilities of non-daily viewing, attempting to break down preconceived systems of identification in the mechanism and explore the direct relationship between people and objects. It records what things look like when the concept, use, nature and history of the name and its attendant messages are dissolved.