My artistic practice centers on constructing an "Organic Hyper-Narrative Machine," materialized through acrylic and spray paint on canvas. As a millennial, screen-based imagery has been an integral part of both my conscious experience and creative passion—my selection of visuals is rooted in rich, screen-mediated encounters, spanning video games, memes, films, emojis, anime, and broader meme culture. Drawing on Jean Baudrillard’s theory of simulacra in ‘Simulacra and Simulation’, I argue that contemporary high-traffic images have transcended mere representation: they operate as autonomous entities—signifiers severed from their original referents—forging a new "hyperreal" order. Taking inspiration from Japanese manga, I employ fragmented narratives, exaggerated panel compositions, and unconventional text layouts to amplify visual tension. When transient images from disparate realms are organically fused within this narrative framework, unstable yet intricate hyper-narrative organisms emerge—machines pulsating with layered storytelling. Within these constructed systems, complex narratives dissolve the traditional binary between "signifier" and "signified," allowing the latent meanings of images to escape my control and guide viewers into a realm of ultra-free interpretation. This liberation of semiotic boundaries has long been the core of my exploration of hyper-narrative machinery. In my latest works, I have deepened this inquiry by incorporating reflections on ‘hyper-interpretation’: building on feedback from previous exhibitions and ongoing practice, I have observed that when collective hyper-interpretation accumulates to a certain threshold, the signifier and signified of images extend into diverse ideological dimensions. This insight has become a new focal point of my practice—not just embracing the freedom of viewer interpretation, but actively engaging with the transformative power of collective reading. By nurturing this dynamic between the work, the audience, and the layered meanings that emerge, I seek to push the boundaries of my "Organic Hyper-Narrative Machine," exploring how shared interpretations can redefine the ideological potential of visual symbols. Ultimately, my practice is a continuous exploration of the dialogue between images, narratives, and audiences. Through deconstructing and recombining digital-era visuals, and now engaging with the dynamics of hyper-interpretation, I aim to create works that transcend fixed meanings, inviting viewers to co-create a constantly evolving, multi-layered ideological landscape.
Before the escape
160x200x3.6cm,Acrylic on canvas,2025
How to find the murderer160x200x3.6cm,Acrylic on canvas,2025
A Soldier's Fantasy26x36cm,Acrylic on canvas,2025
How to find the murderer160x200x3.6cm,Acrylic on canvas,2025
A Soldier's Fantasy26x36cm,Acrylic on canvas,2025
When did you get this illusion?80x100cm,Acrylic on canvas,2025
Once a move is made, there's no turning back20x30cm,Acrylic on canvas,2025
BUY20x30cm,Acrylic on canvas,2025
Do you feel anxious?20x30cm,Acrylic on canvas,2025
What day is tomorrow?30x20x3.6cmx2,Acrylic on canvas,2025
Just as I thought90x120x3.6cm,Acrylic on canvas,2025
MA SHOW
camberwell college of arts,45-65 Peckham Rd, London SE5 8UF,7-12 July 2025
Process and Support
I tend to select images with strong narrative potential and high view counts as my primary materials. I then create draft simulations multiple times across paper, canvas, and Photoshop.
I reshape each material—adjusting color schemes and perspective, for instance—while occasionally making dramatic shifts to the entire image. Take this sports car reference: to break it free from its original descriptive nature, I reimagined it symbolically. This transformation endows the image with layered narrative depth and symbolic meaning, aligning it more seamlessly with the overall rhythm of screen-based imagery.
Symbolization
In the creative process, I typically paint based on refined sketches, primarily using acrylics and an airbrush, with tape utilized for special effects. The work is usually executed in layers—adjustments to the effect and positioning of each layer shift dynamically, dictated by the evolving visual impact of the piece.
CRITICAL REFLECTION
During Unit 3 and the MA Show, my core practice revolved around hyper-narration, with systematic refinements made to issues of symbolism and narrative frameworks.
I believe the appropriation of images and symbols in my earlier works was grounded in Saussure’s signifier-signified theory. Deeply inspired by Roland Barthes’ concept of second-order signification, I deconstructed and reshaped most source materials—stripping them of their original signified meanings, symbolizing or alienating certain carriers of meaning to expand their signification toward broader ideological dimensions.
The artist Neo Rauch has been a profound influence. Born in Leipzig, former East Germany, in 1960, Rauch is a central figure of the New Leipzig School. His works are defined by ambiguous, uncertain narratives, blending opposing elements—fantasy and realism, harmony and restlessness—that resist precise interpretation of plot or theme. For example, in Nachtfalterin (Night Moth), seemingly disconnected figures and objects—whispering characters, a giant insect, a musician—coexist in a dim, mysterious night scene. Lacking clear narrative threads, the work invites viewers to construct their own stories based on personal experiences, offering an open-endedness that fosters expansive interpretation. His unique painting techniques and visual language amplify narrative depth; in particular, his treatment of subjects, objects, and backgrounds—along with exaggerated, even absurd perspective—creates complex, multifaceted narratives that have deeply informed my practice.
My research into comics has also shaped my practice, particularly the work of Japanese mangaka ONE—born in Kōnosu, Saitama Prefecture, in 1986—whose works (such as One-Punch Man and Mob Psycho 100) have offered fresh artistic insights. While ONE’s narratives are innovative and character designs engaging, his original manga manuscripts—crude and unpolished, resembling the work of a child unfamiliar with drawing software—have been most influential. Notably, this unrefined style does not diminish the narrative impact or character expressions; instead, the stark contrast between clumsy visuals and dynamic storytelling lends the pages a unique narrative energy. In contrast to the masterful draftsmanship of Kentaro Miura (creator of Berserk), ONE’s works have garnered greater popular acclaim in recent years—a testament to shifting audience preferences toward unconventional imagery. The "clumsiness" amplifies narrative intensity, as the raw visual style feels more immediate and immersive.This insight prompted me to rethink the painterly quality of my work: I sought to incorporate deliberate "clumsiness" to emphasize narrative focus. This approach is fully realized in When Did You Get This Illusion?, where I intentionally rendered backgrounds, borders, and certain subjects in a rough, unpolished manner. The contrast between clumsy elements and refined details creates a more engaging, rhythmic narrative flow.
Moving forward, I will continue to explore the core direction of the "hyper-narrative machine." Drawing on feedback from Unit3 and the MA Show, I have observed that the extent of viewers' over-interpretation of my works far exceeds my initial expectations. Notably, when such collective over-interpretation accumulates to a certain threshold, the signifier and signified of images extend into more diverse ideological dimensions. Thus, in subsequent works, I will focus on responding to and guiding such over-interpretation.
RESEARCH FESTIVAL
I plan to exhibit a book exploring over-interpretation and narrative ontology at the upcoming research festival. It will be a printed paper book, approximately 15x20cm in size, formatted like a comic book—this will allow readers to better immerse themselves in the narrative. Its content will echo my easel works, with fragmented narrative images drawing on Deleuze’s description in *A Thousand Plateaus*: readers can start interpreting it from any page. The book will include paper-based works, easel works, sources of inspiration, special interpretations of certain symbols, and analyses of the pieces, among other content.