The instinct of an artist is to find the beauty in life and pass it to the audience in his own way.

I prefer to use found objects as my materials to make narrative jewelleries. I like to hide a long story behind the jewellery because it gives you a view of the hidden beauty. In the work I made about the love of my grandparents, I used their photos and the red rope as the found materials. In the meantime, I also express my feelings to the audience through jewellery, from the missing to my family to the anxiety about the worsening environmental pollution in my hometown. For example, in the work I did this year, I used plastic bags, which are collected from the seaside as the material to simulate the appearance of marine creatures being entangled by plastic. This jewellery design shows the severity of Marine pollution.

The visual effect is very important to me, because it usually gives the audience a shock in the first place. To make a good visual effect, I think continuous experiment is important. My experimentation is usually casual, so I always have to use my eyes for a long time to look for something that has special significance and plenty of room for development to me. I don't like deliberate methods, like chemical etching. I enjoy the process of discovering beauty.

藝術家的本能是去發(fā)現生活中的美，并用自己的方式將其傳遞給觀眾。

我的方法偏向于用現成物做材料，做敘述性首飾。我喜歡用首飾包裹著長篇的故事，有一種含蓄的美。比如我做的關于我外公外婆的愛情的首飾，在這件首飾里我用了他們的照片以及紅線這兩個現成物。同時我也常通過首飾來向觀眾表達自己的感覺，小到對家人的思念，大到對環(huán)境污染加劇而產生的著急心理。比如我今年做的作品，我用海邊撿來的塑料袋作為材料，模擬了海洋生物被塑料纏繞的樣子，做了能傳遞了海洋污染嚴重性的首飾。

視覺效果是我很看重的，因為它通常能給觀眾帶來第一時間的震撼。而關于怎么做出好的視覺效果，我認為都是通過不斷地實踐得到的。因為我的實踐比較隨意，我總是要用眼睛找很久，什么現成物對我有特殊意義又有很大的發(fā)展空間。我不喜歡刻意的方法，比如用化學物質腐蝕之類的。我非常享受發(fā)現美的這個過程。