小红书/little Red Book:4279497091
微信/Wechat:18257886216
Background
教育经历/Educational experience
2015-2018就读于中国美术学院附属中等美术学校 / Attended the High School Affiliated to China Academy of Art from 2015 to 2018.
2018-2022本科就读于中国美术学院视觉传播/ Pursued a Bachelor's degree at the School of Visual Communication, China Academy of Art from 2018 to 2022.
2024-2025硕士就读于皇家艺术学院数字方向 / Pursuing a Master's degree in the Digital Direction at the Royal College of Art from 2024 to 2025.
爱好/Hobby
- 篮球/Basketball
- 足球 /Football
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电影/Film
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游戏/Game
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徒步/Hiking
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中国哲学/Chinese Philosophy
VEDIO
WAIDAO
外道项目介绍/Project Introduction
Those who deviate from orthodoxy, I call “outsiders.” Eccentric and rare in every era, such individuals may not appear for decades. If they manage to survive in the world, it must be through breaking the oppression of their contemporaries, enduring with powerful personal charisma and forward-thinking ideas.
Notably, such people often become guides for the next generation—pioneers of new thoughts and values. They resemble characters from a time machine, traveling from the future to spread new ideas. At the very least, these individuals enable people to see diversity beyond the narrow confines of conventional thinking. The “worship of outsiders” itself holds existential value and represents a forward-looking concern.
偏离正统的存在，我称之为“局外人”。“局外人”在每个时代都属异类，可能数十年都难得一见。若这样的人能够存活于世，必定是突破了当代人们的压迫，以强大的个人魅力与先进的思想顽强地生存下来。值得注意的是，这样的人往往会成为未来一代新思想、新价值的引路人。
他们就像是乘坐时光机，从未来而来，传播全新的观念。至少，这种人能够让人们看见不同于当下固有思维的多样性特质。对“局外人”的崇敬也具有存在的价值，是一种面向未来的关切。
我与选题的缘分/My Connection with the Topic
大概是2023年的处于比较压抑的状态，想做一个项目宣泄自己的感情。我本人小时候就特别喜欢王尔德的《道连葛雷的画像》
赛博无间项目介绍/introduction
本项目的主题是网络霸凌。随着互联网社交的普及与用户年龄层的多样化，网络霸凌现象日益普遍。本项目旨在通过3D叙事手法，探讨网络霸凌的广泛性及其所带来的持续性心理伤害。动画借用“玩家视角”的概念，让观众以沉浸方式体验网络世界中的对喷与霸凌行为，以武术对打的形式隐喻语言上的攻击，击败对手则象征网络霸凌的“胜利”。
在动画的哲学层面，作品引入“无间地狱”的意象，象征网络霸凌循环不止的困境——一旦深陷其中，便难以逃脱。如若不能主动跳脱，便会堕入无尽的心理折磨之中。动画以“影子”作为主角，隐喻我们每个人在网络空间中的另一面身份，即虚拟的自我。
本项目同时关注社交平台在此现象中的角色，探讨其管理机制与算法对网络暴力的助长或遏制所承担的重要责任。目标观众为日常活跃于社交媒体的用户，主要包括青少年与成年人。
为增强观展的互动性与沉浸感，动画将于**英国电影协会影院（British Film Institute, 简称BFI）**中以沉浸式场景方式呈现。BFI作为英国最具影响力的电影文化机构之一，致力于推广影视艺术的发展与公共教育，其影院空间为富有思想性与艺术性的作品提供了良好的展示平台。本项目借助这一专业场域，引导观众进入虚实交织的过渡空间，在视觉与情感的双重冲击中，引发更深层次的反思与共鸣。
The theme of this project is cyberbullying. With the widespread use of internet-based social platforms and the increasing diversity in user age groups, cyberbullying has become an increasingly common phenomenon. This project aims to explore the prevalence and the ongoing cycle of harm caused by cyberbullying through 3D narrative storytelling.
By adopting the perspective of a game player, the audience is immersed in the online world to experience verbal battles and acts of bullying. The animation uses martial arts combat as a metaphor for online verbal attacks—defeating an opponent symbolizes the act of successfully bullying someone in the digital space.
Philosophically, the animation introduces the concept of Avici Hell (a realm of endless suffering in Buddhist thought) to symbolize the relentless and inescapable nature of cyberbullying. Once trapped in it, the individual may fall into an endless psychological torment unless they actively choose to escape. The main character is designed as a shadow, representing the fragmented and anonymous selves we inhabit in the online world.
This project also explores the significant responsibility borne by social media platforms—particularly in how their management mechanisms and algorithms may contribute to or help prevent such toxic behaviors. The target audience is regular users of social media, particularly youth and adults.
To enhance interactivity and the immersive experience, the animation will be exhibited in an immersive environment at the British Film Institute (BFI). The BFI, one of the UK’s most influential film institutions, is dedicated to the promotion of cinematic arts and public education. By leveraging this professional venue, the project invites the audience into a transitional space between virtual and real worlds, provoking deeper reflection and emotional resonance through visual and sensory immersion.
Guilt Education
愧疚教育项目介绍/Introduction
《愧疚教育》是我在皇家艺术学院创作的第一个游戏项目。之所以选择这个题目，是因为我一直倾向于从日常生活中寻找灵感。我观察到，在中国，尤其是90后和00后这一代人，普遍受到“愧疚教育”的影响。比如，父母常常会说：“我辛辛苦苦工作，就是为了给你一个更好的生活环境。”这类话语在潜移默化中让孩子背负起情感上的压力，也塑造了他们对责任、自我价值乃至亲情关系的理解。
斯坦福大学的研究表明，适度的愧疚感有助于提升学习动机，因为愧疚会驱使个体采取补救行为、主动承担责任，是一种较为积极的内在驱动力。然而，如果愧疚感过强，或长期被外界强化为一种必须履行的心理负担，它就可能演变为“内摄调节”（introjected regulation），导致个体出现焦虑、拖延、甚至抑郁等负面心理反应。研究也进一步指出，愧疚与羞愧不同：愧疚针对的是行为，羞愧则是对自我的否定，后者更容易引发回避与情绪压抑。由此可见，“适度的愧疚”可以促进成长，而“过度的愧疚”却可能造成伤害。
我创作这个项目的初衷，是希望那些曾受到愧疚教育影响的人，能够意识到自己也许仍处在这种教育的余波之中。他们可能在不自觉中长期承受过度的焦虑，甚至因此放弃了对生活中快乐与享受的感知与追求。我希望通过作品，给予他们一个重新理解自身情感状态的契机，引发更多人对教育方式、情感责任与代际沟通的思考。
Guilt Education was the first game project I created at the Royal College of Art. I chose this theme because I tend to draw inspiration from everyday life. I observed that in China, particularly among the post-90s and post-00s generations, many have been deeply influenced by what I call "guilt-based education." For example, parents often say things like, “I work so hard just to give you a better life.” Phrases like this subtly impose emotional pressure on children, shaping their understanding of responsibility, self-worth, and familial relationships.
Research from Stanford University shows that a moderate sense of guilt can enhance motivation to learn. Guilt can drive individuals to take remedial actions and assume responsibility, serving as a positive internal force. However, when guilt becomes excessive or is continually reinforced as a psychological obligation, it can turn into introjected regulation—a state that may lead to anxiety, procrastination, or even depression. The research also highlights a key distinction: guilt focuses on behavior, whereas shame targets the self. Shame is more likely to result in avoidance and emotional suppression. Therefore, while moderate guilt can foster growth, excessive guilt can be damaging.
My intention with this project is to help those who have been affected by guilt-based education recognize that they may still be living under its lingering influence. Many might be unknowingly burdened by long-term anxiety, and as a result, may have given up the pursuit of joy and pleasure in life. Through this work, I hope to offer a space for people to reexamine their emotional states and inspire broader reflections on educational methods, emotional responsibility, and intergenerational communication.
The Back Bite
反噬项目介绍/Intruduction
麦当劳化在全球范围内持续蔓延，成为现代社会合理化趋势的象征。它在提供便利与效率的同时，也带来了诸多问题。其本质正是马克斯·韦伯所提出的“形式合理化”，即工具理性的统治。人们日渐生活在彻底理性化的世俗体系中，价值理性被工具理性所取代，宇宙意义不再被追问，终极价值沦为“经济人”难以挣脱的枷锁。在实用主义与功利主义的主导下，一切道德规范都逐渐失去立足之地。这种工具理性的盛行，虽带来秩序与效率，却也在潜移默化中对社会与人类精神造成了反作用。
本作品以第一人称3D动画影像为形式，通过“搜寻”的旅程引导观众进入一个形式合理化的虚构世界。在这场注定“一无所获”的旅途中，观众将体验到一种理性世界中的荒谬与虚无，从而引发对现代社会结构的深层反思。这不仅是对形式合理化的批判，也是对当下价值缺失状态的思辨。
在创作语言上，作品试图以空间叙事展开表达：不同的空间承载着不同的象征意义。材质方面刻意回避写实与光追等真实渲染效果，而选择构建一个“虚假”“干净”“过度理性”的世界，以强调其与现实情境之间的抽离与断裂。作品中还穿插了多个富有隐喻意义的元素，如天秤象征平衡与控制，椅子象征权力与制度等，它们共同构建了一个看似有序却令人迷失的精神空间。
As McDonaldization continues to expand globally, it has become a powerful symbol of modern rationalization. While it brings convenience and efficiency, it also raises a number of concerns. At its core lies what Max Weber described as formal rationality—the dominance of instrumental reason. People increasingly live within a secular world governed by rational principles, where instrumental rationality replaces value-based reasoning. The search for cosmic meaning becomes obsolete, ultimate values turn into shackles for the "economic man," and moral norms lose their relevance under utilitarian and pragmatic worldviews. This seemingly progressive rationalization process can, in fact, exert a subtle yet profound counter-effect on society and the human spirit.
This work is a first-person 3D animation that presents a journey through a world shaped by formal rationality. Through the act of searching—ultimately ending in futility—the viewer is drawn into an absurd yet thought-provoking landscape, prompting reflection on the consequences of living in a hyper-rationalized world. The lack of resolution is itself a critique of formal rationality, revealing its emptiness and spiritual cost.
Creatively, the piece explores spatial narrative: different environments embody different symbolic meanings. The visual style intentionally abandons realism, ray tracing, and other hyper-detailed rendering effects. Instead, it constructs an artificial, pristine, and sterile world—an aesthetic choice that mirrors the cold logic of rationalization. Symbolic elements are embedded throughout the animation: for example, the scale represents balance and control, while the chair symbolizes power and authority. These elements collectively construct a pseudo-logical yet disorienting spiritual space.
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