1..This exhibition showcases your work from the past two years, with the theme derived from your piece titled "Zhòng Cǎo." The concept of consumption is implicit; why has it become the main focus of your recent creations?

Before the creation of "Zhòng Cǎo," I hadn't intentionally set out to explore the concept of consumerism. It was merely a coincidence that one day, while searching for leftover materials from industrial production, I asked myself: why is there such a vast amount of surplus in our current lives? Is it due to overconsumption? Following this line of questioning, I began to explore the motivations behind the internet phenomenon of "Zhòng Cǎo," which refers to recommending products online. This led me to browse online sale in live streaming and buy all types of leftover materials , where many materials in this exhibition—such as yarn, leather, and fur. Watching these streams became my daily habit, to the point of addiction. "Consumption" is an integral part of my life, initially intended as a critique of excessive consumer culture. However, it gradually shifted towards a self-deprecating reflection, revealing that I too could not escape the immense temptation of the internet. This unconscious addiction is quite frightening. Upon reflection, I realized that during online shopping, I felt a peculiar force; everything seemed autonomous yet was likely coerced. My brain was disengaged, devoid of any critical thought, merely directing my hands and eyes in a mindless action. In creating the "Zhòng Cǎo" installation, I aimed to achieve a sense of "simulation" while maintaining an element of "falsity." As I hand-wove these faux grasses (colored nylon zip ties), I often found myself muttering, "This is too real" and "This is too fake." The seemingly monotonous and repetitive process, though at times futile, evoked strong emotions within me. The emergence of the "Planting Grass" installation marked a new beginning for me—a summary or consolidation of my thoughts—leading to the establishment of the exhibition's main theme. I strive to create works that connect with the present, return to the essence of life, and question my own experiences.

2.You utilize many leftover materials and packaging materials in your artwork. Could you elaborate on your reasons for this?

I place great importance on leftover materials; they are a vital area of exploration for me. Although technology is advancing and everything appears to be more convenient, there is an increasing prevalence of surplus in our lives. For instance, businesses strive to make their products more attractive, leading to excessive packaging. We seem to value the excitement of unboxing a product more than the waste that follows. Additionally, thousands of packaging boxes, bags, tape, and labels are discarded daily from express deliveries. Each material's existence signifies potential waste, which saddens me. I often collect various remnants from my life, things I refer to as "odds and ends." In my creative process, I seek to continually explore leftover materials, which may be scraps or random remnants—I've always found intriguing connections with them.

3.Your master's degree focused on textile technology. How has this influenced your creative process and perspectives?

Textiles provide me with a relatively stable framework for my creative thinking, yet I don’t limit myself to a singular mode of expression. I view textiles not merely as materials but as creative tools. Unlike paints and brushes that are applied directly to a canvas, textiles are tangible, each with distinct textures and sensations. This richness enhances the diversity of my creative perspective.