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The work reflects on the relationship between technology and us by constructing an advanced technological product from the future. This future product will replace people's worship and spiritual sustentation of the power of gods and Buddhas in religion with technology, turning the invisible into visible. This paper probes into the possibility and influence of the deification of technology in the future, and puts forward the solution of "love, nostalgia and nature" to relieve the pain caused by the excessive intervention of technology.

The core of the work is to explore and experiment the viewing mechanism of the image. Try to recreate the third space with the characteristic of "halo" through images. The halo points to ambiguity and a sense of distance, while the third space is the difference space constructed by reality and consciousness. The work uses fragments of daily life and poetic non-linear narrative as two narrative means, interspersing and advancing the narrative, which corresponds to the two viewing states of the audience, namely reverie and trance, and hopes to connect the audience with the image in the form of flowing water.

‘Body’ is an object we are all familiar with. For British sculptor Anthony Gormley, it is a medium for expressing thoughts about space, while for young female artist Wang Ying, it is a potential vehicle for expressing emotions. This documentary uses a split-screen method to create a three-dimensional space like a "body". It not only explores the artistic concept and development of Wang Ying, a female artist born in the 1990s who studied in the UK but also completed it on this basis. The documentary creator (me) thinks about her and her body, from'meeting','seeing' to'existence'

A series of processes weave a dragnet, covering the lives of animals, and also trapped in the future of human beings. If we exchange identities with animals, will you choose to suffer or fight?

Cheng Sanhe, the first "Kanu" who successfully filed for bankruptcy in Taiwan, went from being inexplicably indebted at the beginning to realizing that he had already owed millions of debts. The bank's collection and the finance company used threats and intimidation to collect debts. Sanhe has since fallen into the hell of "using cards to raise cards". Taiwan’s first "card god" Yang Huiru, who successfully profited from banks with bonus points, used the loopholes in bank bonuses to successfully connect relatives and friends to purchase tickets or shopping station goods by swiping cards, and then use online auctions to earn the difference. Earning millions in the bank, the bank stopped using credit cards. Yang Huiru, who has also experienced personal pain, persuaded the card slaves to face reality: "Hurry up and cut off the card! Because the interest is too heavy, don’t think about borrowing another cash card to pay off the card debt. It’s getting deeper and deeper."

Jiang Xue, a well-known investigative journalist, began an in-depth investigation into the political injustice that happened in his hometown nearly half a century ago. "Xue‘s investigation" was one of Jiang Xue's main self-media at the time, but it was suspended in a short period of time because of the depth and sharpness of the work and the courage to reveal the truth of the incident. During the filming by Jiang Xue, the video version of "Snow Visit" produced by Tiger Temple was only made in the first phase of the film and one person (Xiang Chengjian) died prematurely, making it a precious historical film.

Since 2007, the director of this film has initiated and participated in charity activities for the relief of the refugees in Tiananmen Square. The main line of the film is the director and Japanese friendly people who visited the refugees in Nanxiao Street, Beijing, where they lived in 2014, and tracked the scene of their livelihood on Tiananmen Square. The film was edited in combination with the old video materials shot by the director for eight years.

The film tells about an artist named Banpo, who suddenly returned to Songzhuang one day in 2019, silently packed hundreds of his paintings, packed his luggage, attended the worship service, watched an exhibition, and then said goodbye to his old friends. Finally, he completely left the story of Songzhuang in a quiet early morning. This story seems to be during the process of documenting artist Banpo moving out，the director reveal a huge change in the environment the artist lived in. As if the artist Banpo has foreseen the turmoil of 2020(as Coronavirus epidemic spreading across the world, a massive demolition began at Songzhuang Art District. Many artists, like Banpo, have left Songzhuang. The small town once was famous for Chinese contemporary art 20 years ago, is now gone.)

This video work is a fictional online Feng Shui guideline. A Feng Shui master on-screen in connecting to a person's brain to observe the image fragments in it and, based on that, try to give advice. It turns out to become a dispute between the two. Composed with images from real places like modern residences, high-speed train stations, national enterprises in mid of change, and mining factories, the video gives a dizzying visual effect. The artist narrates the words mixed with humorous, personal, and authoritarian languages. The work concerns the complex relationship between medium, feelings and narratives, and how a personal destiny can be narrated in relation to specific spatial-physicality.

Fishermen couple Ah Shing and Mei-wah, having lived from boat to shore, stayed together for most of their lives. After their son grew up, they have different visions towards the rest of their days. Ah Shing insists on fishing amid the decline of the local fishing industry. Mei-wah works as a factory worker and wishes for a more stable life. Even when there are subtle and profound changes in their relationships due to the different views, their affections for each other never stopped and they still support each other. This story is based on the real-life experience of the director's parents, and they play their own character in the film.