I use traditional Chinese mending methods (Ju) to mend my homeland and another piece of land, Australia.
My shooting process starts with mending the broken ground, walls and trees with a nail gun, repairing the city and the earth, as objects, thus “alienating” the macro from the microcosm. This gives a new identity to the environment we live in, and at the same time, is my reflection on natural ecology through the form of land art.
Repairing objects the way they should not be repaired, this superficial repair (some of the acts are already further destructions under the guise of restoration) is fundamentally a record of vain and idealistic performance. In this process, each object is regarded as an object that has lost all its own characteristics.
Repairing, shooting, printing, and re-shooting, the overlapping of time and space is revealed to the audience through behaviour.

我通过中华传统修补术——锯瓷，修补我的家乡以及另一篇土地——澳大利亚。
我的拍摄从用钉枪修补破裂的地面、墙面、树木开始，修补城市和土地，这种方式从物件本身着眼，以此将宏观与微观缩影“异化”。这种方式给我们居住的环境赋予了新身份，并且同时，也是我通过土地艺术的形式反映我个人对自然生态的个人表达。
通过不恰当的方式修补物件的这种肤浅的修补（某些做法与其说是修补，不如说是进一步损坏），从根本上来讲，是对无用、理想行为的一种记录。这种过程中，每个物件都被视为一个完全失去自身特性的物件。
修补、拍摄、打印、再拍摄，这种行为向观众揭示了时空的重叠。