I devote myslef  in the imagery of idolls, practising proRegress action in concrete animated film during the craft of framing time. Through the immeasurable time framing work, I develop my personal imagination, respect and resonance for the unique nature of certain substance. 

My work often starts with the collection of second-hand Chinese folk objects, focusing on children’s toys and child figures. I use handmade imagery to refine the crystallization of time, experimenting with animation through ceramics, fabrics, film, glass, and other media. By combining reality and endogenous image, I construct surreal folk narratives, linking idolls with continuous imagery.

The indirect mocumentary of animation can be characterized through both “material” and “process,” with symptoms emerging through the creator’s frame-based editing. In my recent work, I have incorporated more of the process of “conceiving” from Structural Materialist Film and Concrete Animation as the primary form of expression, creating self-referential animation dominated by materials and processes.

I try to play and reform new rules of motion, seting up my own maze. In the same time, I observe and document my art work’s fetation while enacting endless movements, surpassing the surface of plates, and mirroring the vegetative and zooid life of film. By integrating the theoretical background of “new materialism” with the perspective of media archaeology, blending “indirect” and “direct” animation into structual materialist handmade film, Sun is to be pregnant, giving birth to the process of “The being of human being.”