The "Extreme Sports" series subverts modern society’s worship of "extremes" by placing conventional athletic activities in irrational contexts (e.g., running a marathon inside a van, boxing on an aerial crane, playing football in a lion/tiger enclosure). These acts superficially mimic the ritualistic nature of competitive sports but, through spatial dislocation and functional futility (e.g., the static running of a treadmill, the non-confrontational nature of aerial boxing), expose consumerism’s disciplining of the body—the notion of "pushing limits" is revealed as a false narrative manufactured by the collusion of capital and technology. The artist uses exaggerated mechanical repetition (e.g., infinitely looped fitness routines in bodybuilding) to satirize contemporary alienation, where the body is reduced to a "productivity tool" trapped in a cage of data surveillance and efficiency obsession.The "Play" series reconstructs mundane scenarios (camping, gatherings, sketching) to transform collective memories of China’s urbanization into surreal theater. Juxtapositions like classroom sketching with the classical math problem "Chickens and Rabbits in a Cage" (Jitu Tonglong, see Play 3: Sketching) hint at how disciplinary systems colonize private experiences. Acts like "mental camping" and "gathering with a canvas" parody the pseudo-experience economy manufactured by consumer society—when genuine interaction is replaced by symbolic substitutes, "play" ceases to be an expression of free will and becomes a participatory trap meticulously designed by power structures. This stark deconstruction of the "joy" narrative intertextualizes with the group exhibitions "Barbarians Write Poetry" and "Just Be Happy," directly exposing the hypocrisy of collective emotional management in
the post-pandemic era.