对子 A pair of antithetical phrases


Qiushi's works start from the historical context he is thrown into. In the ambiguous opportunity of the intersection of ethics, modern Chinese history and the current social state, he regards photography and its derivative images as the most intuitive way of communication between the heritage of intellectual history and the current social ecology.
His works are not intended to interpret the path of contemporary photography and the possibilities of image forms,
but to take that methodology and schema as an opportunity to find the spiral history of interaction between images and human nature.
He believes that contemporary photography should not only focus on the innovation of disciplinary methods or new case critiques,
but also on the continued exploration of the subtle checks and balances between the mechanisms of image production and the relatively constant desires of individuals (collectively) based on the local context.

With the help of artificial intelligence in editing and reorganizing images, memory seems to no longer care about authenticity.

Guiding Principle


People often question the events and visual paradigms in the "red image" of the Communist Party of China, but I am curious about how the geographical location of "Jin Cha Ji" serves as the starting point for the visual cultural experience of the 20th century Chinese revolution. Through the study of materials and visual propaganda mechanisms, as well as the possibility of "red images" occurring in the sense of media science, I attempt to restore the formal motivation in revolutionary creation in the current "Jin Cha Ji" region. In the description of perspective and psychological experience, I trace the origin of this left-wing revolution and socialist realism image. When vegetation, passes, and shadows replace ideological symbols, we seem to be able to more accurately experience the subjective motivation of historical narrative.

The Arrogation of Photographs/The disappearance of clues

Taking symptoms for medicine  


Worship, art, reproduction, these co-exist in photographs. And what interests me is their seclusion in the process of changing from reality to image. Nowadays, images are immersed in our lives and work, and unlike the old days, production no longer means having the power of interpretation.
In the midst of my doubts about the repeated transformation of the meaning of images, I take a lot of photographs in the way of iconographic motif, with various types of film or digital, with ready-made, and with different aesthetic rhetoric, in order to reveal how images react to reality in different states.It can be a personal diary or a kind of currency in the market of meaning.

Through the works, I can see how images become a transit point between desire and reality, and reflect on the sacrifices and transactions attached to the exchange of images in today's society.

Black stone stall


This project  based on a visual and archival study of post-military units in the South Central China.
This type of organization provides more jobs and infrastructure to the surrounding area, but also remans somewhat disconnected from regional development due to conflicts with local government jurisdiction and relative economic independence.
An interesting but realistic contrast emerges in these communities, both in terms of physical environment  and in terms of the way people think and perceive themselves.
There reveal a state of both integration with rural ethics and a highly unified modern system; a unique story of both political parties and rural ghosts.


The Stars Over Beijing are in the Noise

After the balloon drifted toward the American continent, I began to looking for stars in the image noise which i took from home.





‘Huangshan’ (Huang Mountain) is often called the most wonderful mountain in the world by the Chinese. It is the focus of Chinese art and religion. But what people don't know is that before it was renamed because of a legend that Emperor Xuanyuan once made alchemy here, its name is ‘Yishan’. because from a distance, the mountain looks like ‘Dai’(A black and blue pigment used by ancient women to draw eyebrows), so it is named ‘Yi’, which means ’Black’. Yi’s original meaning is ‘master and a group of followers’, and the extended meaning is ‘a group of people’. "Black" refers to "unknown" and "unclear". The combination of "black" and "Yi" provinces means ‘a disorderly band of people rabble’.
The first year after COVID-19 announced its end, I came to this most famous mountain in China to find those who came to worship after recovering from serious illness.But the fact was that there was only fog in front of them.

Jingshan——The intersection of vision, history and power.

In the 19th year of the Jin Dynasty's Dading reign (1179), the central building of the imperial palace, Yanchun Pavilion, was built to the south of a barren mountain and named "Qingshan".
After the Ming Dynasty overthrew the Yuan Dynasty, the capital of the Yuan Dynasty was renamed "Beiping". To the north of the Forbidden City was the position of Xuanwu, and there should be a mountain. Therefore, the soil from the excavation of the Guanzi River in the Forbidden City, the Taihe Pool, and the South China Sea will be piled up on the "Qingshan", forming five peaks called "Wansui Mountain", firmly suppressing the foundation of the Yanchun Pavilion at the foot of the mountain.
In the twelfth year of the Shunzhi reign of the Qing Dynasty (1655), Wansui Mountain was renamed "Jingshan". "Jing" means tall.
In 1924, Feng Yuxiang's troops occupied Jingshan, set up cannons, and drove Puyi (the last emperor) out of the palace.
In 1966, during the Cultural Revolution, the Red Guards across the country were connected, and Jingshan Park was renamed as the Red Guards Park. It was closed from February 21, 1971, until it reopened on March 1, 1978.
In 2001, Jingshan was listed as a national key cultural relic protection unit.


Officail Eye

1,Direction, Pictorial and No time, 1950s -- 1970s

2,Events, Occupations, and Figures, 1970s-1980s

3,State, Mixing and Conflict, 1980-1985


GMT+8—3:00 PM

Fictional Geopolitic


I have assembled images of countries and regions that have been placed at the diplomatic table or tied to different times and spaces in the process of globalisation,and these fictitiously organised fragments of reality become pre-existing facts under the guise of images.

When geological features, urban plans, cloud formations, scale and noise conform to our perception of the image,
but then err in the logic of history, truth and falsity loosen the power of vision, and the image itself appears in misunderstanding.
The self-sufficiency of nature or fact is only accidental; it is the meaning and question that forms the chain of history.

From the DaLian Port to  Mediterranean

From the Gulf of Aden to the Gulf of Mexico

Jerusalem-Ulaanbaatar-Los Angeles