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 "The Stillness" ”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 (Purification)" 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.