It's a geometric world with three different races, and it's a story of geometric people constantly fighting each other.
2022
The work depicts three fictional races-pink people with triangular eyes, green people with square eyes, and gray people with round eyes-as metaphors for real-world society. It tells the story of a cyclical journey, from childhood conflicts to the outbreak of war, and ultimately to the destruction and rebirth of civilization. Rain symbolizes both adversity and hope. A seed buried in the desert waits for rain to sprout, while a world devastated by war revives after the rain, only to fall back into new cycles of opposition and conflict. The work explores how violence repeats itself in history, how opposition becomes interde-pendence, and questions whether civilization can ever escape the fate of destruction.
2022
The work constructs a fictional "Square Nation" consumed by power, where the cycle of power is built on slaughter and oppression. A secretary, eager to rise to power, endures humiliation and submits to the rules of authori-ty, eventually seizing the presidency through murder-an event to which the entire nation is numb. Journalists shift their stance with each change of power, adopting servility as a survival tactic, yet still cannot escape their eventual disappearance. The fictional regime serves as a metaphor for real-world politics, exploring how individuals grow amid oppression and ambition under authoritarian sys-tems, how dictatorships are replicated, and now they ultimately become trapped in the cycle of power. When the balance of power among the three branches collapses, oligarchic regimes solidi-fy, turning the game of power into an endless cycle, where freedom and justice for the people remain forever absent.
2023
The work takes race and nationalism as its starting point, illustrating how different regimes give rise to racist ideolo-gies. Racism infiltrates people's minds through diverse and insidious means, and the piece explores a series of possible outcomes that racism could lead to. The binary opposition mentioned in the title invites the audience to reflect on why binary thinking has become so pervasive in today's society.
2024
This work continues the wor dview of the previous pieces, using the medium of games to explore individual agency under the intluence of free thought and power. Inspired by the ideas of lolstoy and Levinas, the work revolves around the theme of racism, questioning individual re sponsibility and innocence under ideologica manipulation. The game teatures sx different endings, seemingly granting players the tree dom to choose-attack, remain sol, maintain harmony-but the underiving mechanics restrict true freedom. The card system further guides pidyers decisions toward sobame racist dendy. Through this design, the work challenges the authenticity of "free choice,' forcing players to re-flect: in a meticulously controlled system, does one's mind truly belong to oneself? How does power shape our moral judgment? Within the wamework or the game, all lives mater. Yet when the rules limit our possibilities, how do we become aware of me value or others wves?
2025
Cards
In this work, the artist chooses the head as the main element. These heads are not specific individuals but racial stereotypes projected by society. By stripping, enlarging, and displaying sculptures of heads in different colors, the artist illustrates how racism simplifies people, reducing them to categories and labeling them as different faces. In modern society, power is exercised through the gaze, and violence is no longer popular. The gaze is not simply looking; institutions such as schools and prisons discipline individuals through constant observation and recording. These huge heads are displayed and monitored, and the audience is the eye of power, unconsciously participating in the gaze and discipline. Foucault believed that this discipline stems from self-discipline, but the artist argues that while discipline involves rules and self-examination, in contemporary society, especially when it comes to race, the gaze is also a form of discipline imposed by external eyes In the artwork, the continuous humming sound of the motor resembles the agonizing moans of a sculpture. These moans may stem from the pain of being stared at, or from being simplified and categorized, or from the crowding of society. The artist amplifies the voices and heads of the marginalized, making it impossible for the oppressors to turn a blind eye. He constructs a scene filled with conflict and repression. The sculptures are interdependent yet exert pressure on one another through their respective volumes, frozen in an eternal atmosphere of tension.
Faceless others
2025
Exhibition
