Soft Thorn (2013-‐2017), with the initial intention to record a journey of nostalgia after the departure from my home, contains candid, staged portraits and moments in the backdrop of my hometown. Inspired by Robbe-Grillet’s Voyeur, which described the whole fiction in another subtle view instead of the subjective view, it occurred to me that I could accomplish a description of myself and a selfie through those directed portraits. As those models are mainly my close queer friends and Christian relatives, by what I mean, I am prone to perform my sentiments and sorrows so as to capture myself in those portraits of people I share intimacy relationships. Meanwhile, taking portraits in Soft Thorn as an example, I try to reveal and rebuilt the mental world of those people photographed through posing and directing their gestures in an intimate way. I persist the similarity of those portraits while stripping off individual and specific characteristics by directing models. A Dream in Red Mansion, a traditional Chinese fiction, has also impressed me with its fabulous depiction of all sorts of dreams mixed with bittersweet stories which provid me with ideas to structure dummy reality dream world, and I try to compose a dream, or a stage of illusion, through my artworks, like the daylight given by the immense hill or a vulnerable butterfly trying to escape from the shadow of dark clouds. I anticipate that viewers can finally reach the deepest ideological layer where truth and fantasy are buried in my works.