Momentary project consisted with 4 series of the work, Momentary multimedia installation, Pond installation, Momentary paining and Horizon installation. As an across media project, it exploration of landscape and nature reveals the impossibility of a fully objective viewpoint. Instead, the work invites a meditative engagement—a dialectic between logic and imagination, perception and illusion. The project does not attempt to assert absolute truths but rather questions the very nature of truth as an evolving interplay of opposites.

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“Momentary” a multimedia installation (2019) facing the street at the de Pot Gallery which located at the corner of the street with a traditional vegetable market in the old French Concession of Shanghai. Not all the visitors attend the exhibition with expectations. There is quite a number of passers-by, who either go shopping, drinking coffee, and do other daily affairs, completely without anticipation, which creating a different experience of viewing the exhibition. The exhibition will take every passer-by as a part of the works being created, collide these abstract emotions created in the past with each person passing in or out of nowadays, and create every new concrete moment, which is stored in a very mixed street background.

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The “Momentary” painting series (2008) seeks to evoke depth and primitive simplicity, capturing fleeting, elusive scenes that emerge suddenly before the eyes and resonate through subtle tonal shifts. These works explore the uncertain edge between reality and perception, metaphor and meaning—embracing ambivalence and a precarious balance between distorted vision and subjective experience. They reflect the impossibility of a detached perspective, offering instead a meditation on experience shaped by both abstraction and imagination—intuition driven by desire. This imagination connects disparate elements into a continuous field, creating a visual tension between overwhelming vastness and intimate atmosphere. As the title suggests, Momentary pursues an aesthetic of reduction—stripping away excess to heighten material presence and redefine the viewer’s relationship with the artwork, establishing a new ground for engagement.

Pond installation (2005) blurs the boundary between illusion and reality, between the realistic and the artistic, the two-dimensional and the three-dimensional. Its ambiguity reflects the uncertainty of reality—a condition we have constructed ourselves. Our consciousness, through naming and categorizing, creates a sense of separation and ultimately shapes the world we inhabit. The structures of meaning we live by—formed through culture, imagination, and perception—are inherently unstable, as fleeting and fragile as bubbles.

By placing the landscape on the ground and positioning the viewer above it, “Pond” challenges the conventional relationship between observer and landscape. The work resists passive viewing and instead encourages active reflection. Though these landscapes appear natural and meticulously rendered, they quietly suggest: “This is not a landscape.” Is it illusion—or a different kind of reality? Meaning does not reside in the object itself, but in the viewer’s mental constructs—shaped by culture, habit, and imagination.