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My journey began in Yancheng, where eight formative years taught me the value of order, discipline, and restraint. Outside that system, I spent my spare time teaching myself visual, technical, and creative skills, gradually building a foundation that did not come from a conventional academic path.
I moved to Shanghai and entered the commercial photography industry. I started from the ground up as an assistant, experiencing both the surface glamour of fashion photography and the financial pressure faced by a newcomer trying to survive in the city.
I focused on test shoots, self-initiated creative sessions that allowed me to experiment, develop a visual language, and slowly build financial stability. For the first time, I was able to imagine a life beyond survival.
When the pandemic began, I turned toward digital creation. Over the next three years, I dedicated myself to Blender, not because I believed technology could replace creativity, but because I saw 3D as a way to break through physical, spatial, and production limitations.
I began making independent films, completing a feature-length personal project and a short film. Working outside the conventional film industry taught me how to organize limited resources, coordinate people, and turn an individual vision into a structured production.
My approach to filmmaking has been deeply influenced by Edward Yang, especially his attention to self-awareness, modern life, and the unresolved possibilities within ordinary people. What interests me is not spectacle, but the quiet tension between who people are, where they are placed, and what they might still become.
My focus has moved toward the intersection of traditional creativity and AI. This transition is difficult, but necessary. I see practice as my way of resisting stagnation: building concrete work before ideas dissolve into hesitation, abstraction, or endless preparation.
A path shaped by discipline, image-making, digital experimentation, and independent creation.