My month-long European tour concluded, and I returned home just as the pandemic struck, plunging the world into lockdown. In that silence, I released *Exhausted Works*—my first solo album in nine years—drawing from Qin Shi Huang’s mercury-laden quest for eternal life, a meditation on death and rebirth. Through *My National Treasures*, I deepened this theme, weaving my surname into historical fabrications to question the interplay of time and value.

Amid scanning 1,000 calligraphic works, *Resistance* emerged—an error-born cry against a digital age swallowing us whole. It layers the modern paradox of technology’s proliferation with echoes of historical oppression and invasion, posing a stark inquiry into our digital existence.

As the pandemic waned and the world sought new ways to live, *The Color Cleanser* confronted the structures of vanity, suspicion, and fear bred by social media and isolation. Using technology to visualize this chaos of impressions, it forged a co-creative space with viewers—capturing, amplifying, and purifying the noise into clarity. Together, these works trace a single thread: how we face technology, resist it, and ultimately coexist with it in a reborn world.