Materials：pottery, marker,

Size: 30*45cm

Intention: By placing two pieces of pottery that are roughly similar yet complementary in shape together, I transformed them through squeezing, hugging and pressing, and used this shape change to reflect how people influence each other in close relationships (friendship). The patterns on both sides of the pottery are silhouettes of human figures interacting with many friends, such as taking pictures of each other, hugging each other, etc. On top of the silhouette, wind chime flowers and lilies representing friendship and women were also added.

我把两块形状大致相似但形状互补的陶器放在一起，通过挤压、拥抱和按压来改变它们的形状，并利用这种形状的变化来反映人们在亲密关系（友谊）中如何相互影响。陶器两面的图案是人物与许多朋友互动的剪影，如互相拍照、相互拥抱等。在轮廓的上方，还添加了代表友谊和女性的风铃花和百合。

Materials：pottery, marker,

Size: 30*45cm

Intention: By placing two pieces of pottery (the left side in p1 represents the child and the right side represents the parent) together, I hugged, squeezed and pushed them to deform them, and used this shape change to reflect how people influence each other in intimate relationships (kinship). The patterns on the front and back of the pottery are two people sitting back to back and mothers holding their young child, both of which can convey the affection between familymenbers.

我将两件陶器（p1中的左边代表孩子，右边代表父母）放在一起，通过拥抱、挤压和推动使其变形，并利用这种形状变化来反映人们在亲密关系（亲属关系）中如何相互影响。陶器正面和背面的图案分别是两个人背靠背坐着，母亲抱着年幼的孩子，这两种图案都能传达出家庭成员之间的感情。

Size: diameter: 8cm  height: 10cm

Intension: This work expresses the duality of a person's external and internal aspects through the regularity and simplicity of the outer wall of the cup and the rich colors of the inner wall. The cup is a very suitable carrier for this work, because only the owner of the cup can see the color of the inner wall of the cup, while outsiders can only see the appearance of the outer wall. In this work, the color on the outer wall of the cup has a slight flow, symbolizing the slight crack on the human mask.

这件作品通过杯子外壁的规则和简洁以及内壁的丰富色彩，表达了一个人外在和内在的两重性。杯子是非常适合作为这件作品的载体。只有杯子的主人才能看到杯子内壁的颜色，而外人只能看到外壁的外观。在这幅作品中，杯子外壁的颜色有轻微的流动，象征着人们面具上的轻微裂缝。

Size: 260 mm × 146 mm

Intention: This work uses repeated portraits overlaid with trending elements to show how identity becomes multiple and interchangeable in the context of social media and online culture. Clothing, accessories, and tags create distinct personas while reflecting how individuals are shaped and consumed by viral trends. Framing the pieces within an Instagram interface allows viewers to directly experience the platform’s influence on personal identity.

这件作品通过重复的人像拼贴与流行元素的叠加，呈现身份在社交媒体和网络文化下的多样性与可替代性。服饰、配饰和标签不仅构建了不同的人设，也反映了我们在流量逻辑中被塑造和消费的现实。最终用 Instagram 界面作为边框，使观者直观感受到社交平台对个体身份的影响。

Acrylic boards, metal rod, printed photography

This installation is inspired by travel, it explores the shifting centers of human life between city and countryside. The suspended sphere represents the urban condition surrounded by information and architecture, where daily experience floats within digital layers and nature is pushed to the edge. In contrast, the topographic plane embodies a life grounded in the land, where survival resources remain central. By presenting via spatial logics, the work invites reflection on human–technology–nature relations in a shared but uneven world, and the result as shifting communities.

这个装置灵感源自旅行，探讨了城乡之间人类生活重心的不断转移。悬浮的球体象征着城市的状态——一个由信息与建筑层层包裹的围城，日常经验漂浮在数字化的层层结构中，自然被逐渐推至边缘。与之相对，下方的地形平面代表一种扎根于土地的生活方式，在那里生存资源依旧是核心。通过对这种空间逻辑的反转与叠合，作品呈现出人、科技与自然在这片共享却不均衡的世界中以不同形式共存，以及社会形势的持续变动。

Size: 22inch * 28inch

Introduction: A beast-like figure clings to a delicate wreath, its fangs grazing soft petals, skeletal claws curling around the edges of a death ritual’s symbol. Yet from its breath rises something ancient: totems of deer, humans, cattle, echoes of early life and belief, unfurling against the creature’s wild, untamed form. Here, primal ferocity collides with civilizational quiet, forming a clash made visible—wildness and ritual, endings and echoes, beast and something like reverence—all knotted into a single, charged moment that hums with the weight of struggle.

一个形似野兽的形象紧紧攀附着一个精致的花环，它的獠牙轻擦着柔软的花瓣，骨爪蜷曲在死亡仪式象征物的边缘。然而，从它的呼吸中升腾起某种古老之物：鹿、人类、牛的图腾，早期生命与信仰的回响，在这头野兽狂野不羁的形态映衬下徐徐展开。在这里，原始的凶猛与文明的静谧相互碰撞，形成了一场清晰可见的冲突——野性与仪式、终结与回响、野兽与某种近似敬畏的情感——这一切都交织在一个充满张力的瞬间，回荡着挣扎的沉重。

受Greg Egan的《Closer》的启发，这部作品探讨了如果我和另一个人拥有相同的身心，会发生什么。这些画描绘了两个交换了身体和思想的人。第一次看他们，你只能看到他们在表面上看着对方，但仔细一看，你会发现他们实际上是在第二层上看着自己。他们通过分享变得比以往任何时候都更亲密，但也比现在更孤独。

Materials: watercolor painting, balloon

Intention:

Over the course of 365 days, I created 365 works, primarily consisting of still lifes and fantastical landscapes. I believe these subjects possess a beauty that can be captured within a perfect geometric form. I chose the circle because I consider it the most perfect shape in the world. The circle can be precisely defined, tangibly expressed, and contains the infinite within finite parameters. This is why I chose the circle.

在365天的时间里，我创作了365幅作品，主要由静物和奇幻风景组成。我相信这些主题具有一种美，可以用完美的几何形式来捕捉。我选择圆形是因为我认为它是世界上最完美的形状。圆可以被精确地定义，有形地表达，并在有限的参数中包含无限。

Materials: Oil painting

Size: 90cm x 60cm

Intention:

My initial concept was to set up an exhibition where each person’s condition would be written on a report, preserved in liquid inside glass bottles, and displayed. However, that felt too cruel—we can’t force everyone to expose their most vulnerable side, yet these struggles still deserve to be seen. That’s how I came up with the idea of using IV stands to hang jars, symbolically lifting up their inner psychological realities.

In our society, there are mental illnesses and psychological issues that remain unseen and often dismissed. Many regard them as a normal part of life, yet these are issues that demand attention—because true well-being begins only when we face and address our mental health.

These fragile yet profound struggles are hung on IV stands, elevated into view. They are intertwined with stories of blood and tears, yet here, before the hospital curtain, they are finally seen.

我最初的想法是建立一个展览，将每个人的病情写在报告上，保存在玻璃瓶里的液体中，并展示出来。然而，这感觉太残酷了——我们不能强迫每个人暴露他们最脆弱的一面，但这些挣扎仍然值得被看到。这就是我如何想到用静脉注射架挂罐子的想法，象征性地提升他们内心的心理现实。

在我们的社会中，有一些精神疾病和心理问题不为人所知，往往被忽视。许多人认为这是生活中正常的一部分，然而这些都是需要关注的问题——因为只有当我们面对并解决我们的心理健康时，真正的幸福才会开始。这些脆弱而深刻的斗争被挂在6个架子上，抬高到人们的视野中。它们与血泪交织在一起，然而在这里，在医院的帘子前，它们终于被看到了。

Medium: Digital Illustration/Diptych

Size: 3634px × 2360px

Intentions / Brief Explanation:

我这幅双联画（我把两张画拼一起了＞＜）描绘的是一只小鹿的左右鹿角，想表达的是对人类过度开发自然的一种反思。左边画的是大自然最原始的状态。鹿角散发着温暖的自然光，上面栖息着萤火虫和野花，充满宁静的生命力。右边却完全相反：鹿的形态模糊不清，被笼罩在灰暗的工业色调里，角上生长出的是一座杂乱闪烁的城市，像是一种沉重的负担。我想通过这种强烈的对比，让人直观地感受到人类文明对自然的侵占和破坏。霓虹灯再绚烂，也无法替代自然本身的光辉。而我们每一次扩张，可能都在让某些纯净的声音永远消失。

Size: 110cm * 70cm

Introduction: As an artist, instead of creating pieces that depicts struggle, the process of creation itself is also struggling. From the theme to the subject to the form and way of creation, this mixed-media artwork captures the explosive release of inspiration - where creative energy bursts outward in chaotic harmony. Musical instruments, vibrant textures, and dynamic forms intertwine to symbolize the raw, unpredictable flow of ideas breaking free from internal boundaries and finding shape in the external world.

作为一名艺术家，与其说创作的是描绘挣扎的作品，不如说创作过程本身就是一场挣扎。从主题到题材，再到创作形式与方式，这件混合媒介艺术作品捕捉到了灵感的爆发式释放——创意能量在混乱中和谐地向外迸发。乐器、鲜活的质感与灵动的形态相互交织，象征着原始且不可预测的思想洪流冲破内心的束缚，在外部世界中具象化。

Photography + Photoshop

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My photography investigates how everyday urban life in Shanghai can be both familiar and unstable. Starting from straightforward documentary images of daily scenes, I applied pixel-stretch techniques to distort colour and form, creating glitch-like visuals. This manipulation emphasizes speed, disappearance, and fragmentation in contemporary city living, while still grounding the work in recognisable daily reality. By balancing clarity with distortion, the project reflects on how modern life reshapes perception of time and space and destabilizes our sense of the ordinary.

我的摄影探讨了上海日常都市生活如何在熟悉与不稳定之间摇摆。以直接的纪实影像为起点，我运用像素拉伸技术对色彩与形态进行扭曲，制造出故障般的视觉效果。这种处理方式强化了当代城市生活中的速度感、消逝与碎片化。依然扎根于可识别的日常现实之中。在清晰与扭曲之间寻找平衡的过程中，作品反映出充斥着科技的现代快节奏生活如何重塑我们对时间与空间的感知，并动摇了我们对“日常”的稳定认知。

Medium: colored sand

Size: 15cm*15cm

Intensions: This work was inspired by my childhood experience of walking through the park every day and my experience of a charity project aim to enable disabled people to use the park free. I aim to convey how people should be able to access natural environment– such as a park– easily in the urban area, and how all kinds of people should be able to use the park space equally. I used color sand to express a sens of unrealistic and dreamy. By using rich colors, I hope to create a sense of Eden Garden.

这个作品的灵感来自于我小时候每天在公园里散步的经历，以及我在一个项目中的经历。我的目的是传达人们应该如何能够轻松地进入城市地区的自然环境——例如公园，以及各种各样的人应该如何能够平等地使用公园空间。我运用了裸身这种意向，来代表刚出生的人的平等。我用彩砂和丰富的色彩来表达一种不现实和梦幻的感觉。

Size: 24inch * 30inch

Introduction: I am gazing at the front, I am surrounded by birds, I am standing by the last land of nature that I have been looking after for years. The birds are aware of nothing, just snuggling up to me and looking curious, But I am not. The last sun falls, the shadows go dark. Something is approaching, I can see it clearly, but what then? Will this piece of harmony be broken? It's not something I can decide, it's not something you can decide. It's all of us.

我凝视着前方，四周群鸟环绕，我正伫立在那片我悉心守护多年的大自然最后的净土旁。鸟儿们浑然不觉，只是依偎在我身旁，满是好奇的模样。但我却无法如此坦然。最后一抹夕阳落下，阴影渐浓。有什么正在逼近，我能清晰地看到它，但那又如何呢？这片和谐之景会被打破吗？这并非我所能决定，也不是你所能左右的。这关乎我们每一个人。

Size: 8 units of photos

Intension: This piece of my work aims to showcase the richness and splendor of weekend life, or rather, to reveal the suppressed side of people during weekdays. I enhanced the saturation of all these photos, increased the brightness of the colors, highlighted the key colors in the picture or emphasized the tone of this photo. After such processing, it can form a sharp contrast with the black-and-white photos representing the working day, highlighting the madness hidden behind the dull working day even more.

我的这幅作品旨在展示周末生活的丰富和精彩，或者说，揭示人们在工作日被压抑的一面。我增强了所有这些照片的饱和度，增加了颜色的亮度，突出了图片中的关键颜色或强调了这张照片的色调。经过这样的处理，它可以与代表工作日的黑白照片形成鲜明的对比，更加突出了沉闷工作日背后隐藏的疯狂。

鲁怡晨

Medium: Digital Illustration (Procreate)

Size: 3269px × 4329px

Intentions / Brief Explanation:

我的这幅画叫《两平米的安全感》，画面内容是一个少女在床上紧紧地，像抓着救命稻草一般地抓住被子，试图以此获得安全感。而被子在少女的幻想中被幻化成母亲的样貌，用布料的温暖给予女孩母亲很久没有给予给她的拥抱。整个画面色调昏暗偏紫，唯独被子在发出橙黄色的暖光，就这一点暖光也足以让少女感受到温暖。

我的画试图探讨现代社会中亲子关系之间的疏离，由于家长不充足的陪伴或经常以负面情绪对待孩子，孩子就容易感受到不安全，从而试图通过各种方法而补足这种安全感的缺失。而小时候没有安全感的孩子，长大成为父母也不知道如何对待孩子，于是这样就形成创伤代际传递。画面中的少女仅身着背心和短裤，因为我想体现出她那种在家庭里试图和父母坦诚以对，向他们倾诉一切，但是由于家长的疏离，她只能将她脆弱的这一面隐藏于最私密的时刻，试图自我消化。

这幅画的灵感还有很大部分来源于我的真实感受，我每次难过的时候，都喜欢把被子枕在脸下面，因为靠在很温暖、很宽阔的东西上面会莫名给我一种很强的安全感，而经常没有安全感的我 久违的体会这种感觉时就会忍不住想哭。

Materials：pottery, marker, underglaze decoration, mineral pigment  

Size: 35*40cm

Intention: By placing two pottery pieces (the one on the left in p1 represents a male and the one on the right represents a female) together and then colliding, deforming them through hugging, pushing and squeezing, it shows how people influence each other in an intimate relationship (love). At the same time, it also reflects that in love, the "us" often see the other person with self-projection.

通过将两件陶器（p1中左边的一件代表男性，右边的一件代表女性）放在一起，然后通过拥抱、推动和挤压来使他们碰撞变形。它展示了人们在亲密关系（爱情）中是如何相互影响的。同时，这也反映了在爱情中，“我们”常常用自我投射来看待对方。

Material: PVC board, paperboard CA glue, pencil, plant leaves, wooden sticks, paper.

Size: 50.8*50.8*2scm

Intension: This is a model of a little museum (or maybe gallery). This project learnt from precedent buildings and studied how to combine building programs into the environment.

此模型是一个小型博物馆（或可作为画廊）的设计。探究了建筑如何融合在环境中。

This gouache painting is composed of multiple small studies inspired by photographs I took during an educational trip in Ningxia. Each individual piece depicts architectural elements—bridges, corridors, and passageways—that serve both as visual motifs and structural connectors, integrating the panels like pieces of a puzzle into a unified whole.Rendered in a soft lilac and pink palette, the work conveys the warmth and companionship offered by my classmates, friends, and mentors who accompanied me on this journey. The recurring bridges and linking forms act as metaphors for human connection, echoing the painting’s central theme of relationships and the invisible ties that bind us together.

Through its modular yet harmonious construction, the piece explores how separate experiences and individuals can interlock to form a continuous, supportive narrative—much like memory itself.这幅水粉画由多幅小幅习作组成，灵感源自我在宁夏学习旅行期间拍摄的照片。每一幅作品都描绘了桥梁、走廊和通道等建筑元素，它们既是视觉母题，也是结构连接点，将各个部分像拼图碎片一样整合成一个统一的整体。作品以柔和的淡紫色和粉色为主色调，传达了陪伴我走过这段旅程的同学、朋友和导师们给予我的温暖与陪伴。反复出现的桥梁和连接的形式隐喻着人与人之间的联系，呼应了这幅画的核心主题——人际关系以及将我们联系在一起的无形纽带。

通过模块化而和谐的结构，这幅作品探索了不同的经历和个体如何相互交织，形成一个连续的、相互支撑的叙事——就像记忆本身一样。

Materials: Oil pastels, color charks, oil paint,

watercolor, polymer clay

Size: 77*35.5cm

Intention:

Saturn is surrounded by a ring, which have been accompanying Saturn all along. Just like each of us, we have many people around us who accompany us, guide us and take care of us... At the front position, I made a set of polymer clay, the little brown figure is me. I made several

people who accompanied me in different scenarios. The remaining pieces of polymer clay also represent the people who have been accompanying me all along.

土星被一圈光环环绕，这圈光环一直陪伴着土星。就像我们每个人一样，身边总有许多人陪伴着我们、引导着我们、照顾着我们……在最前面的位置，我用软陶做了一组作品，那个棕色的小人就是我。我还做了几个在不同场景中陪伴我的人。剩下的一粒粒的软陶也代表着一直陪伴着我的那些人。

通过这种结构和材料的语言，设计试图将外观和现实的二元性、良心的重量和王尔德哥特式悲剧的可怕之美可视化。它不仅是故事的物理背景，也是一个心理景观——一个道德瓦解、虚荣变成噩梦的舞台。

This is a collage piece that transforms a two-dimensional work into a three-dimensional form through a standing structure. I used approximately 70% materials cut from various magazines and incorporated 30% gouache painting to enrich the color palette of the work.

By combining images of mass-produced furniture—representing industrial products—with hand-painted organic forms and fluid colors, I aim to explore the reconfiguration of the relationship between humans and nature in the post-industrial age. The visual tension and harmony between these elements reflect a core contradiction of modern society: how industrial products both erode and reshape the fabric of our lives.

The folding structure itself serves as a metaphor: each crease is a transitional zone—not only between industry and nature, but also a critical point where the two-dimensional expands into the three-dimensional. During viewing, the audience must constantly shift their perspective, mirroring the real-life challenge of seeking balance between different stances in the face of industrial civilization.创作意图

这是一件拼贴作品，通过一个立式结构将二维作品转化为三维形态。我使用了约70%从各种杂志上剪下来的材料，并融入了30%的水粉画，以丰富作品的色彩。

通过将代表工业产品的批量生产家具图像与手绘的有机形态和流动的色彩相结合，我旨在探索后工业时代人与自然关系的重构。这些元素之间的视觉张力与和谐，反映了现代社会的一个核心矛盾：工业产品如何侵蚀并重塑我们的生活结构。

折叠结构本身就是一种隐喻：每一个折痕都是一个过渡区——不仅是工业与自然之间的过渡，也是二维向三维扩展的关键点。在观看过程中，观众必须不断转换视角，这反映出在工业文明面前寻求不同立场之间平衡的现实挑战。

Materials: Oil paint, Liquin(丽坤), Saponified wax

Size: 50*70cm*2 pieces

Intention:

This project wants to express that a person's

personality is very easily influenced by the

environment. Along the way, we have walked through

countless people's shadows. These shadows are

imprinted on us but may not leave permanent marks.

Moreover, sometimes our choices are controlled by

others. Such control often comes from elders, which

is common in East Asian families. These "controls"

are like palms stained with paint, leaving permanent

and indelible marks on our pure white clothes.

这个项目想要表达的是，一个人的性格很容易受到环境的影响。一路上，我们穿行于无数人的影子之中。这些影子印在我们身上，但可能不会留下永久的痕迹。而且，有时我们的选择会被他人所左右。这种控制往往来自长辈，在东亚家庭中很常见。这些“控制”就像沾了颜料的手掌，在我们洁白的衣服上留下了永久且无法抹去的印记。

Materials: iPad( Digital painting)

Size: /

Intention:

Society always has a set of aesthetic standards, and it is hard for people not to be influenced by such standards. However, since ancient times, these standards have been constantly changing along with the development of society and the alteration of the environment. This work aims to present this change by combining traditional elements of

Dunhuang - the flying apsaras. While paying tribute to the tradition, it also reinterprets it in a creative way.

社会总是有一套审美标准，人们很难不受其影响。然而，自古以来，这些标准随着社会的发展和环境的变化而不断改变。本作品旨在通过结合敦煌的传统元素——飞天，来展现这种变化。在向传统致敬的同时，也以创新的方式对其进行重新诠释。

In terms of presentation, I used a combination of colorful surfaces on both sides paired with pure white to symbolize the contrast between discarding and retaining. The framework of the lamp was made using plaster, while the main body features numerous small window frames. Materials such as resin drops, fabric, and yarn were used to represent objects in our lives that carry different emotional values.这是一个装置艺术灯具，内容灵感来自于我搬家的经历。在这个过程中我经历了对过去的物品等整理和丢弃的取舍，这样的取舍不只是物理层面的也是精神层面的。我以此为起点将话题放射到我们成长的整个历程中。我们在成长中可能失去了一些东西，也有一些东西是我们始终坚守和保留的。在呈现上我通关两侧彩色正反纯白色的色彩搭配来区分取和舍。者你哥哥灯具的骨架用石膏完成，而主题部分则是制作了大量的小窗户，并使用包括滴剂、布艺、纱线等材料体现生活中对我们有不同情感价值的物品

30*30cm

This solitary figure rests upon the immense surface of an eyeball, creating a quiet scene of self-confrontation. The eye, a symbol of observation, is rendered so large that it feels imposing, its scale dwarfing the individual into introspection. Below, the dark pupil expands into a still, oceanic depth, hinting at the profound and sometimes unsettling nature of self-reflection. The composition is cooled by a palette of muted grays and soft blues, establishing a detached, almost dreamlike atmosphere. A subtle touch of red provides a slight undercurrent of tension, a quiet reminder of the vulnerability that comes with being seen, even by oneself.

这是一个身影跪坐在眼球的巨大表面，营造出一种自我面对的宁静场景。眼睛，作为观察的象征，被巨大化处理，给人以压迫感。下方，黑色的瞳孔和虹膜变成了海洋深处，表达了自我反思和审视的深刻性。柔和的灰色和淡蓝色调使画面显得冷静，营造出一种超脱的冷峻的气氛。微妙的红色调带来了一丝紧张感，悄然提醒自我审视所带来的压迫感。

Medium: Digital modeling by using Nomad, Blender, and C4D

Size:

Intention: This model critiques the commodification of joy by transforming a childhood carousel into a metaphor for emotional capitalism. It explores how digital consumption, performative happiness, and instant gratification erode authentic feeling in the modern world.

通过将童年的旋转木马转化为情感资本主义的隐喻，这件作品批判了快乐的商品化，探讨了在现代社会中，数字消费、表演式幸福与即时满足如何侵蚀真实的情感体验。