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Anchorwoman II, 2024
Oil paint on plywood
40 x 20 cm











President and Prime Minister, 2024
Oil paint on plywood
40 x 30 cm








This oil painting draws from a 1979 televised recording of Saddam Hussein identifying traitors during a Revolutionary Council meeting. It captures the dictator’s piercing gaze as he confronts his opponents. Although the footage—now over 40 years old—suffers from blurring and color distortion due to the era’s technical limitations, the chilling atmosphere of the event remains evident. The artist repeatedly paused and cropped the footage, striving to distill the leader’s psychological state. This painting deconstructs the underlying power dynamics, offering insight into how authority is visually conveyed—especially relevant in today’s image-saturated, fragmented world.

这幅油画取材于1979年萨达姆·侯赛因在革命委员会会议上点名叛徒的电视录像，捕捉了独裁者凝视反对者时的犀利目光。尽管这段超过40年前的录像因时代和技术限制而画面模糊、色彩失真，但会议中那种令人不寒而栗的氛围依然清晰可感。艺术家通过反复暂停与裁剪视频，力图提炼出领袖的心理状态。这幅画解构了隐藏在画面中的权力结构，探讨了权力如何通过图像传递，在当今这个图像泛滥、支离破碎的世界里显得尤为重要。









Reichsministerium für Volksaufklärung und Propaganda II, 2024
Oil paint on plywood
50 x 40 cm











Reichsministerium für Volksaufklärung und Propaganda, 2023
Oil paint on plywood
30 x 40 cm










Nuclear Physicist II, 2023
Oil paint on plywood
30 x 40 cm










Nuclear Physicist I, 2023
Oil paint on plywood
30 x 40 cm









The painting is based on clips from J. Robert Oppenheimer's television interviews in the 1960s and depicts his expression of slight bowing of the head between his words. After World War II, the nuclear physicist had been politically and psychologically affected by the consequences of the development of the nuclear bomb, and he had been campaigning for control over the development of nuclear technology. In this interview, Oppenheimer elaborates on his responsibility in development of nuclear bomb by quoting Vishnu's words to the prince in ‘Bhagavad Gita’. His speak is intermittent, his eyes are misty and glistening with tears, and he seems to purse his lips in an effort to control his emotion. The artist captures this fleeting expression and brings this black and white history back to the viewer in colour. 'Now I am become Death, the destroyer of worlds.'

这幅画是根据 1960年代奥本海默的电视采访片段创作的，描绘他言语间轻微低头的表情。在二战后，这位核物理学家政治上和心理上一直受到研制核弹后果的影响，他也一直在为核技术发展的控制而奔走。在这段采访中，奥本海默引用《薄伽梵歌》中毗湿奴对王子说的一句话阐述他在研发中的责任。他的诉说时断时续，眼神迷离，闪过泪光，似乎为了控制情绪而抿嘴。艺术家捕捉了这转瞬即逝的表情，并有彩色的画面把这段黑白的历史重新带到观众面前。“我将变成死神，世界的毁灭者。”










Former President, 2023
Oil paint on plywood
30 x 40 cm













Astronaut II, 2023
Pencil on plywood
30 x 40 cm












Plumber, 2023
Oil paint on plywood

120 x 60 cm













Senator, 2023
Oil paint on plywood
40 x 50 cm










This painting, based on a photograph of a CIA hearing in 1975, depicts a senator playing with a "heart attack" gun. The gun could fire either frozen water or shellfish toxin. Once inside the body it would melt leaving only a small red mark on the victim where it entered. The official cause of death would always be a heart attack. And at the hearing, in full view of the public, the senator picked up the gun and started playing with it, trying to aim a target through the scope. The image of the senior man contrasts with his almost instinctive behaviour. The artist wanted to do his best to express the innocent and cruel temperament in his eyes at this moment.

这幅画是根据 1975 年中央情报局听证会的一张照片创作的，描绘了一位参议员把玩 "心脏病发作 "枪的情景。这把枪可以发射冷冻水或贝类毒素。一旦进入人体，它就会融化，只在受害者身上留下一个小红印。官方公布的死因总是心脏病发作。在听证会上，在众目睽睽之下，参议员拿起枪开始把玩，试图通过瞄准镜瞄准目标。这位资深人士的形象与他近乎本能的行为形成了鲜明对比。艺术家希望尽力表现出他此时此刻眼中天真而又残忍的气质。












Sakyamuni, 2023
Oil paint on plywood
40 x 50 cm










Astronaut I, 2021
Oil paint on canvas, tracing paper and twine
100 x 80 cm














Untitled(Astronaut/Moon/Monitor/Chair), 2021
Mixed media
400 x 400 x 240 cm











From the whole work untitled to the painting packaged on the easel that have not been taken away yet, in this personal space temporarily enclosed by bubble papers in an area of 4m*4m, there are also a broken chair and a used monitor that both rely on carefully chosen books to support, meanwhile the monitor plays clips of rockets landing and buildings blasting in reverse, and a nearly scattered old scroll calligraphed ’Moon‘ hanging behind the easel. These suspended states of different parts of the work are like the Soviet Union’s astronaut in that painting was stuck in between being forgotten and being remembered, between being abandoned and being saved. He might be lucky enough to be brought back by Russian officers later on.

从未被命名的整件作品到画架上被打包却还未被带走的画作，在这个面积为4m * 4m的用气泡纸临时围起来的个人空间中，还有一把破旧的椅子和一个用过的显示器，依靠精心挑选的书籍支持着，与此同时，显示器倒放着火箭降落和建筑物爆破的片段，而一张几乎破碎的老卷轴上书“月”悬挂在画架背后，这件作品不同部分的悬置状态就像那画作中的苏联宇航员被困在被遗忘和被记起、被遗弃和被拯救之间。他也许足够幸运，后来被俄罗斯官员带回。















’Hereditary Territory’, Powerlong Art Museum, Shanghai, 2021














Untitled (Rockets& Demolitions)
HD video
11 minutes











Anchorwoman, 2020
Oil paint on canvas
80 x 60 cm
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Wu Xiaoran 2018-2025 —  Shanghai