直接铺满墙的绿植图像，以及影像中出现的植物的动态图像，都拍摄自生存在城市夹缝中的植物，在看似狂野生长的背后隐约透露着受人造场景约束的信息。在展示时，植物图像的输出布满整面墙壁，而在现实中总是以主角出现的冷静齐整的城市高楼，则被置换成缓慢变化角度的镜面影像，镶嵌在疯狂生长的“植物墙”角落里。这里对应着整个作品是一个人类作为主体缺失的场域，是对主体真实存在性的挑衅。

The green plant images directly overspread on the wall, as well as the dynamic images of the plants appearing in the video, are taken from plants that live in the cracks of the city, which reveals the information of constrained by artificial scenes behind the seemingly wild growth. When exhibited, the output of the plant image is overspread the entire wall. The tidy and indifferent urban high-rise buildings, which are alway appearing as the protagonist in real world, are replaced by a mirror image with slow angular variation and mounted in the corners of barbaric growing plant wall. The corresponding work here is a field in which human beings, as the subject, are missing. It is a provocation to the real existence of subject.

为了避免让观者产生阴郁或阴森的印象，我在拍摄植物时所挑选的时间和光线都是正午时期最明亮的阳光直射。给观者呈现出了一组明亮而简约的组合景象，我希望观者也不必完全理解每个图像的意义或背景，而是去感受它们，虽然是明亮的图景，却能感受到所构建这个“世界”周围隐喻浮现的无法言说的不安感。正如我常常感觉什么事情正要发生了，或是正在发生着，这些事情可能是很重要的事情，但是我无法发现它们或者改变它们。这是一种对“世界”未知的不安感，感受到一种隐藏的在深处的危险。

In order to avoid leave the viewers a gloomy impression, I choose to shoot these plants in the high moon when the light is the brightest direct sunlight. The viewer is presented with a set of visually bright combination scenes. The viewers could feel image without having to fully understand the meaning or background of each image. Although it is a bright scene, the views may faintly feel a kind of unspeakable feeling of uneasiness that emerged from this constructed “world”. Likewise, I often feel that something is going to happen or is happening, which may be very important, but I can’t find them or change them. This is a sense of uneasiness about the “world” and I may feel a kind of hidden danger in the deep.