《圆相Enso》
不存在的“菌”世界
生成矩阵的参数化椅子形态&计算机模拟真菌菌丝生长
生物学逻辑之内与之外的世界，菌类意识之中与之外的世界，两者同时存在。世界不只是一个世界，有人类世界，还有菌类世界。每个物种或生命形式都有自己的世界像我们的世界一样真实。
“圆相Enso”系列作品探讨并推测了生物合成木质素与白腐菌作为人类世功能材料的能力。白腐菌被发现于白垩纪中生代的木化石中，而在人类纪时期白腐菌具有降解木质素提炼的导电晶体、净化土壤的功能，并能够制备余辉材料和生物塑料用于光学传播、生物成像和信息加密等新兴技术。作品假设以菌类作为生存主体的星球，以菌构成人造物和物种之间的相互作用，呈现地史时期开始直至人类纪的树木与真菌协同关系，以及菌类能量驱动中的生物循环演化。
通过利用计算机模拟真菌菌丝生长、生成矩阵的参数化和3D打印，形成一系列由时间驱动的算法增长框架。展现了木质素、木腐菌、微生物培养基等构成的实时腐朽的生物材料在形态、结构、密度和联合的可能状态。该作品是作者以多重宇宙理论的研究为基础，关注宇宙繁殖并假设宇宙从单数变成了复数的系列创作。以构成环境响应型的生物增强材料，为不存在的“菌”世界和不可能的“菌”造物而设计。
The worlds within and beyond the logic of biology, the worlds within and beyond fungus consciousness, both exist at the same time. There is more than one world, there is the human world and the fungal world. Each species or life form has its own world, as real as ours.
The "Circle Phase Enso" series explores and speculates on the ability of biosynthesized lignin and white-rot fungi to serve as functional materials in the Anthropocene. Found in wood fossils from the Cretaceous Mesozoic, white-rot fungi in the Anthropocene have the ability to degrade conductive crystals derived from lignin, purify the soil, and prepare afterglow materials and bioplastics for use in emerging technologies such as optical transmission, bio-imaging, and information encryption. The work assumes a planet with fungi as the main body of existence, and fungi constitute the interactions between artifacts and species, presenting the synergistic relationship between trees and fungi from the beginning of geohistory up to the Anthropocene era, as well as the evolution of biological cycles in the energy drive of fungi.
A series of time-driven algorithmic growth frameworks are developed through the use of computer simulations of fungal mycelial growth, parameterization of generative matrices and 3D printing. The possible states of morphology, structure, density and association of biomaterials consisting of lignin, wood-rotting fungi, and microbial media decaying in real time are shown. The work is a series of creations by the author based on the research of the multiverse theory, focusing on the reproduction of the universe and hypothesizing that the universe has changed from singular to plural. It is designed to constitute environmentally responsive bio-enhanced materials for the non-existent world of "fungus" and impossible "fungus" creations.
《茧影》
时装艺术作品《茧》
Chapters 1
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Chapters 2
Chapters 3
Chapters 4
《茧影》四章是为服装艺术作品《茧》的秀场制作的视觉艺术影片，它们将在不同的展具上呈现，由具象到抽象，由局部到宏观，寻找和塑造符合《茧》的场景视觉定位。
The four chapters of Cocoon Shadows are visual art films produced for the show of the costume art work Cocoon. They will be presented on different exhibition tools, from figurative to abstract, from local to macro, trying to shape the visual orientation of the scene in line with Cocoon.
《深石的巨石》
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“恐龙之眼”
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“夜行”
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生命的演化打破了人类对时间的感知，面对动辄以亿计算的地质时间，我们在地层切片面前陷入震撼和沉思。当人类集体意识到自己的在时空面前的渺小，才能全面地感受到生命的壮美。团队从禄丰到澄江，自贡到云阳，从恐龙化石 挖掘现场，博物馆到恐龙工厂，这些从地层剥离出来的恐龙化石在技术和想象的作用力下，“活生生”地站在我们面前，潜行在千万年前的岩洞中，恐龙形象不再成为一个回应实存终极答案，而是关于生命和时间的无尽想象。
影片设定为站在更远的未来，对远古生物进行数字考古，用数字艺术的形式，站在人造恐龙之眼的第一视角上，也站在深时的视角上通向过去也通往未来，“五十亿年后，随着太阳能量的耗尽，地球也会落入黑暗。我们正垫着脚尖站在边缘处”。
The evolution of life has shattered mankind's perception of time. In the face of geological time, which is often measured in billions of dollars, we have been plunged into shock and contemplation in front of the stratigraphic sections. When human beings collectively realize their insignificance in front of time and space, they can fully feel the magnificence of life. The team traveled from Lufeng to Chengjiang, Zigong to Yunyang, from dinosaur fossil excavation sites, museums to dinosaur factories, these dinosaur fossils stripped from the strata of the earth in the technical and imaginative force, "alive" in front of us, sneaking in the caverns millions of years ago, the image of the dinosaurs no longer become a response to the real existence of the ultimate answer, but the endless imagination about life and time. The image of dinosaurs is no longer a response to the existence of the ultimate answer, but an endless imagination about life and time.
The movie is set to stand in the far future, digital archaeology of ancient creatures, in the form of digital art, standing in the first perspective of the artificial dinosaur's eyes, but also in the perspective of deep time to the past and the future, "Five billion years later, as the sun's energy runs out, the earth will fall into the darkness. We are standing on our toes at the edge."