Where are you currently based?
London, UK.

What led you to create your work, “The Parable of Narcissus"?
Regarding my thoughts on narcissism, I personally am not someone who is narcissistic in terms of appearance. However, I constantly evaluate my own thoughts and behavioral patterns, which can lead to feelings of satisfaction or inferiority. I believe that the best way to express this private way of thinking is through an art form with an accompanying theme. Therefore, the origin of this work is derived from this.

Furthermore, narcissism represents an inertia in the universal path of human self-awareness. When discussing the myth of Narcissus, Mark Luhmann points out a common mistake: people often say that Narcissus was narcissistic. In fact, Narcissus was not destroyed because he saw his own image. The numbing effect of technology destroyed him, and similarly, media users can become numb and fall into a coma. Technology creates a new environment that can lead to pain, and the body's nervous system "shuts down" to prevent pain. The name Narcissus comes from the Greek word "narcosis," which means numbness.

Narcissism and self-awareness, amputation and numbness. The relationship between humans and technology can never achieve a balanced state.

Can you describe your creative process and the techniques or mediums you use to create the work?
Currently, the main materials I have been researching are soap and resin. In my understanding, I view soap as an industrialized fat, and resin as an artificial amber. In my works, soap serves as the main part of the traditional sculpture replication method and is a symbol of the flesh. The large number of uncontrolled chemical reactions (especially reflected in the color changes) that occur during the production process of handmade soap make its formation in the mold process like a flesh incubation.

The mold, as the shell of the sculpture, is mainly made up of photosensitive resin from 3D printing. The use of 3D printing as a subordinate object (mold) in sculpture is also a reflection and exploration of traditional sculpture techniques. The resin, as the shell of the sculpture, provides a concept of a non-secure shelter for the soap sculpture.

What inspired you to become an artist, and what drives you to continue creating your art today?
Contemporary art is my means, education is my goal, and being an artist is just one of the paths I take to understand the outer world.

My research in art focuses on the relationship between humans and media, as well as the relationship between materials from different eras and contemporary human society (such as archaeology and internet cultural symbols). I place great value on the power of education, which serves as a bridge between the past and the future for humanity. Unlike traditional education, using contemporary art as a medium provides more expansive and equal possibilities, while contemporary art can act as a catalyst for practice, enabling a deeper involvement in society. Ultimately, everything is based on the simplest form of communication between people, the transmission and connection of information and ideas, and artistic creation serves as a catalyst to initiate conversation and thought.

How has your art evolved over time, and what experiences or influences have contributed to this evolution?
As my identity and environment changed, the focus of my art creation also shifted. After I started working and studying in the UK, as an artist with a background in traditional Chinese sculpture, my exposure to the comprehensive system of the British Museum and the global perspectives offered by different material artifacts and my personal spiritual history began to evolve and innovate in my mind. I began to conduct research in the direction of anthropology, archaeology, and post-colonialism.

My inward archaeological journey began with my skepticism or affirmation of the world around me; from the Internet, subcultures, and virtual symbols to the real material world. I believe that artifacts are crystallized from the ruins of civilizations over time, and contemporary artworks have already become artifacts of the future. In the long run, everything is inevitably reconstructed from its historical background in history.