Micro-Landscape Series I, projects a digital animated video onto two sides of a carved concrete cube. All of the characters’ outlines are carvings that depict each part of the ancient painting: Ma Yuan’s master piece,Xiang Ling Tu, shows an old man retired from the royal court, sitting on the edge of a mountain, playing his zither. Suddenly, something strange happens: a bird flies and lands on his shoulder, then tells him to leave the human world and go back to nature. In the video, all the aspects are part of a family- the old man has a connection to the landscape, he can call the bird and the bird responds. This series recalls the ancient philosophy of humans’ relationship with nature; but by using new materials and technologies in the animated video, this Series provides a transition from the original Song Dynasty’s paintings to a broader context.

In Micro-Landscape Series II, continues as a series of installations related to landscapes, which mainly borrow from Chinese ancient stories and project them onto two types of models: In the first model, the shape of the New York Times’s building projects as a landscape video onto multiple spaces of the model; in the second model, concrete as a material to copy an apartment’s home appliances uses such as refrigerators, electronic fans and washing machines, and project these videos into different sizes and shapes.

Series II continues with the themes of families and nature but in the contemporary context: nowadays, urban people enjoy the countryside on the weekends, but they no longer take the time or have the patience to observe nature. With the rise of the digital age, people take for granted the use of cell-phone cameras to capture nature in their daily lives. In the videos, time is not important, but in the real life of the Chinese, time is money. Series II borrows resources from the home: families rely on home appliances for saving time, so the animated videos recall nature within real products used in their daily lives.