Verfremdung
This series, which heavily draws from ethnic mythological imagery, originates from a fundamental feeling of returning to the soil. Instead of showing specific mythological characters, the artworks capture the mythic spirit that was born in the region. Myth, which is truth wrapped in metaphor, connects the creative and imaginative energies that roam over the world and leaves a lasting impression on those who are born into it. These pieces appear to be shards of the primordial memory of the place.
At the center of Schelling's argument is myth, which he views as a communal construct analogous to the "tribe of the individual." It is the result of a people's common creative energy and presents a clear and comprehensive expression, whether it be in visual arts or writing.
Myths frequently represent a people's thoughts and spirit in a variety of ways. Chinese mythology frequently features creatures from the ground, mountains, seas, and sky. These myths and tales show how a people have responded to nature as a collective, expressing a deep concern for our continued survival.
Still, in a way, this body of photographic works reacts to "Qi Xie." A primitive, poetic, and magnificent artistic impetus from the same place is their common genesis. There are no existent mythical writings that contain the scenes, animals, or individuals that are shown in these works. Instead, they try to explain the long-lost old books in a fresh way by re-creating the mysterious and majestic mythological appeal that is exclusive to the Chinese people.
陌生化
这个系列的创作源于一种回归大地的原始意识，其广泛取材于民族神话意象，作品所呈现出的不是具体的神话形象，而是诞生于土地的神话精神。神话作为披着隐喻的外衣的真理，一统那些游荡在土地间的蓬勃的想象力与创造力，给生于其中的民族打上永恒的印记。他的作品仿佛即是这片土地自身的原始记忆片段。
谢林在他的学说中将神话置于核心考察对象，他认为，神话是“等同于个人的族类”的集体作品，是产生于这个民族共同的艺术冲动，它不论作为文学亦或是造型艺术，都是完满的，显白的。
一个民族的理念与精神通常化身于神话里的各种形象，中华文化中的神话形象常源于天地山海，可以说，这些神话传说是一个民族对于自然天地的集体回应，也是最初对我们整体存在的深刻关怀。
尽管如此，这个系列的影像作品，在某种程度上来说，是对《齐谐》的回应，它们共同来源与相同土地上的一种原初的，诗意的，磅礴的艺术冲动，这些作品中所呈现的景物，动物或者人物形象并无法在现有的神话古籍中找到具体对应的出处，它们所再现的正是那种云谲波诡而又雄奇飘逸的中华民族所特有的神话艺术神韵，试图以另一种方式再述失传已久的古籍。