Cube
Li



Let's trust in the new imaginative means, born from simple objective transpositions. - Salvador Dalí












Untitled 
Chicago 2024

Inspired by the concept of unknown intelligence and the mythos of the Cthulhu universe, I have chosen the octopus as the central subject of my photographic work. As mollusks, octopuses exhibit intelligence that has evolved through completely different pathways from humans, making them a subject of fascination and mystery. This alien intelligence evokes curiosity and fear in humans, particularly in our interactions with highly intelligent non-human animals.

This fear parallels the early developmental anxieties described by Sigmund Freud in his psychoanalytic theory, where children experience a mixture of curiosity and terror when confronted with the physical differences between male and female bodies. Freud postulates that boys, upon seeing their mother's genitalia, experience fear due to the perceived difference, which can later manifest as anger and influence their relationships with women in adulthood. In contrast, girls may feel admiration when observing their father's genitalia, which Freud associates with oedipal and paternal attachment. Freud's concepts of androgyny and the 'maternal phallus' further illuminate this complex relationship between gender, fear, and desire.

In my work, the octopus becomes a symbol of this psychological tension. Its fluid, formless body, and multifaceted intelligence evoke a sense of the androgynous, while its many appendages and otherworldly nature challenge the viewer‘s perception of the familiar. Through this, I aim to provoke a simultaneous recognition and unease, invoking Freud’s notion of the uncanny——something known yet deeply unsettling. The resulting images are intended to blur the boundaries between the familiar and the unknown, creating a space where mystery and fear intersect.












Ashes
Chicago,2023













Chicago & Shenzhen
Chicago 2021

As an artist, I am becoming more concerned with social and philosophical themes in the current world. "Chicago-Shenzhen" is a combination that expresses my emotions toward Chicago and my hometown(Shenzhen).

When spectators view Chicago-Shenzhen, I want them to be reminded of their hometown as this piece is personal. At the same time, my intention is for them to contemplate the impact of global homogenization in the past decades on our generation. Memories are unique, but I realized that I am reminded of those memories everywhere I go. I keep wondering if memories can still be personal to one's self, or if we have a collective memory as a community. I keep thinking that it is a good thing that we pin our memories on one similar yet different object after another, and see these objects everywhere we go? Do we view such results with a positive or negative attitude

















Natural Artists
Cyanotype,2023













 







Stone On Stone
Chicago,2023

Stones on Stones is an extension of my Natural Artists series. In 2023, while using cyanotype techniques, I collected various natural organisms and boldly claimed, "I did nothing, nature created the art themselves." However, I soon realized that my work was built upon interference with and harm to nature, without truly respecting it. Acknowledging this, I decided to put the project on hold.

This realization led me to reflect on the relationship between humans and nature. On one hand, humans strive to escape nature's threats, such as building cities to protect against extreme weather; on the other hand, they tightly grasp the benefits nature offers, like domesticating animals for human use. Stones on Stones was born from this arrogance. I print images onto stones, not to document them, but to express the futility and absurdity of human actions through this meaningless act.

In this work, I continue to use photography as a medium, printing images of stones onto the stones themselves. This act may seem absurd, but it hints at humanity's impulse to intervene in nature and prove its existence. Photography, or art in general, holds meaning only for humans; for nature, its mere existence is its value. When I present the stone itself to you, is there still a need to document it? Printing a photograph—an enduring form of documentation—onto a stone that might last even longer feels like a race against nature. Yet as these stones return to nature, both they and the images will change with time. Decades, centuries, or even millennia from now, the stones might still exist—but what about the images? The breaking of the stones represents the disappearance of the images and serves as a reminder that humanity will never truly conquer or control nature.
Let's trust in the new imaginative means, born from simple objective transpositions.  - Salvador Dalí