My Monument | 我的纪念碑
2018 | The Data of Others
A survey on suicide attitudes among Chinese middle school students became the catalyst: nearly 13% held pro-suicide views, close to 80% were conflicted or neutral, and fewer than 7% were clearly opposed.*
That same year, suicide was the second leading cause of death for Americans aged 10 to 24. Nearly one-third of high school students experienced persistent hopelessness; more than one in six seriously considered suicide.¹
This was no longer a single nation's anomaly.
2020—2021 | Reading and Writing 阅读与书写
The work had not yet begun. The pandemic cut off access to materials, and to the studio. These two years were spent mostly in reading—from Durkheim and Yalom to The Tibetan Book of Living and Dying and Weiss, circling the same question: how death, in being spoken and interpreted, enters into relation with the living. There was also fiction writing.
The images had not yet arrived. But the question was already there.
创作尚未开始。疫情阻隔材料，也阻隔画室。两年主要用于阅读——从涂尔干、亚隆到《西藏生死书》与魏斯，死亡如何在言说中与生者发生关系，成为反复叩问的命题。也写小说。
画面尚未到来。但问题已在那里。
2022｜Images of Indirection 迂回的图像
The images are visual footnotes to these readings. They are not direct translations, but personal interpretation.
画面是阅读的视觉注脚，并非直接转译，而是个人理解。
2023｜Love
爱
赤裸的人凝视餐桌。桌沿另一端，死者轻抚生者的脸——又或是生者抚摸自己，试图擦去未流下的泪痕。烛火在画框边缘静静燃烧。 它不是答案。是对话之后，第一幅独立于思想资源之外的悼念图像。 同年，新的领悟浮现：道蒂笔下“体面的死亡成为特权”的现实，² 与科技重绘死亡边界——数字遗物、AI悼念、虚拟墓碑——将死亡从生物终点推向可编辑、可延续的数据形态。 而《Love》不回答这些。它只是一幅画。
A naked figure gazes at a dining table. At the other edge of the table, the dead gently touch the living's face—or perhaps the living touch their own, trying to wipe away a tear that never fell. A candle burns quietly at the frame's edge.
It is not an answer. It is the first image of mourning, after a long conversation, that belongs finally to itself—independent of the texts that helped bring it into being.
That same year, a new realization surfaced: Doughty's account of "the good death" as privilege,² and technology's redrawing of death's boundaries—digital remains, AI mourning, virtual memorials—are shifting death from a biological terminus toward something that can be edited, stored, and prolonged as data.
Love does not answer these. It is only a painting.