我一直覺得影像是一種非常神奇的媒介，我們的眼睛每天都在大量的觀看與現實非常接近，但又不是現實本身的照片，不斷地在思考各種各樣的事情。受日本“私攝影”的影響，我一直想發明一種能讓人看得見的語言。我喜歡在無意識的拍攝狀態，“讓自己的行動（身體）走在意識（頭腦）之前”。直面“混沌”的人類世界原本的樣子。在我的作品《火·山燦》（Blooming Star）當中我想去表現私密性，即青春期成長階段的困惑，矛盾以及內心與外部世界的聯系，我希望重新灌輸一純真的理念來觀察我們的身體。

我經常會問自己，那我自己是否在照片里呢？對我來說，我的影像是我潛意識在現實世界的顯影。在我的作品《但我知道那是什么》（But I Know What It Is）和《我知道你的心跳有多厲害》（I Know How Furiously Your Heart Is Beating）我對世界的，對自身的提問，也有我對于對世界，對自身的態度。我拍出來的影像，是我在尋找地迫切想保留的知覺，我只想它們是真實的就好，讓圖像成為純粹的“投影”。

I have always felt that images are a very magical medium. Our eyes are constantly looking at visual information that is very close to reality but not reality itself, at the same time we are constantly thinking about various things. Influenced by Japanese "private photography", I have always wanted to invent a language that is visible to people. I like to do unconsciousness shooting to reflect on "letting my action (body) go before my consciousness (mind)". To confront the "chaos" of the human world as it is. In my work “Blooming Star”（火·山燦）, I wanted to express the intimacy which includes the confusion, the contradictions of adolescence, and the connection between the inner and the outer world. I tried to re-instil the idea of an innocent way of looking at our bodies.

I often ask myself, am I in the picture? My images are a manifestation of my subconscious in the real world. In my works “But I Know What It Is”（“但我知道那是什么”） and “I Know How Furiously Your Heart Is Beating”（“我知道你的心跳有多厲害”）, I quest about the world, myself, and my attitude to them. My images are what my perception is desperate to keep; I want them to be real. Let the image be a pure "projection".