中國在飛速發展的都市化進程中，人們普遍經歷一種人與社會的疏離感。 通過「輕鬆慶祝每一天」這系列作品，意圖表現中國一線城市中真實的當代生活，我關注的是都市化過程中給人們帶來的負面影響,並試圖以作品反抗其中的虛偽和物質主義。

 

  The rapid progress of Chinese urbanization gives people a common feeling of alienation in the society. I highlight the negative impact of urbanization in the modern life of Chinese first-tier cities through my work series Celebrating Everyday with Ease, defying dishonesty and materialism lying in the cities.

      來自瑞典的宜家家居，象徵著「美好的生活」，讓客人能夠直接在模擬的居家環境里體驗「美好」然而在這個美好空間里，呈現的卻是人們在當代社會中的孤獨，疏離，焦慮及無力感。在此熟悉又荒誕的視覺語言中，現實和虛幻僅一線之隔，間接反映著這一代人在日漸富裕的物質及環境與日益匱乏的精神和生活之間的妥協與困惑，同時也隱含了都市化狂潮下的無奈。    

   The Swedish brand IKEA embodies 「wonderful life.」 It provides its guests mock-up living spaces to experience 「the wonder,」 but those amazing rooms and spaces also illustrate the loneliness, alienation, anxiety, and a sense of losing control in modern society. The commonly-seen yet absurd visual language forms slim boundary between reality and illusion, reflecting compromise and confusion people of this generation bear insofar as the enriching of material life along with the withering of spiritual life in a less straightforward manner.

      在北京宜家長達四年的拍攝過程中，我從觀察者的角度出發，以智慧型手機在商場進行偷拍，手機在此成為傳達及表現作品的中介。李普曼(Lippmann)認為我們生活在媒介為我們編織的擬態環境中，我們所認識到的真實並非即是客觀事實，而僅僅是一種媒介的真實。因此我以德國杜塞爾多夫學派(Düsseldorf)「旁觀者」的凝視拍攝，橫平竪直、工整，近似於商業目錄的風格表現，同時我在攝影中插入手繪圖像，強調該語境下的荒謬與不協調。在我所建構的作品語境里意在深入探討美好生活與真實生活中雙重性，物質與文明間的差距。借此更深一步討論當代社會中人與人，人與物之間的關係，迫使人們直視社會中存在的問題。                                                                                                                                                                  

During the four-year shooting in IKEA Beijing, applying the viewpoint of an observer, I took secret shots with my smart phone at shopping malls. The smart phone thus became a medium to transmit and embody ideas. According to Lippmann, we live in a fictional world woven by different mediums, and the reality we believe in are only valid in accordance with the rationale of mediums. Therefore, I shoot with the eye of 「bystander」 from the Düsseldorf school in Germany. It is horizontal, vertical, and neat, which is similar to the performance of a commercial catalog. At the same time, I insert hand-drawn images in photography, emphasizing the absurdity and inconsistency in this context. Moreover, I went further to discuss the relationships between people and our ties with materials and objects, forcing viewers to look straight to the existing issues in the society.“