• 2026
• Transparent Estrangement III 膜III

• 2025
• Heaven-Earth Wayfarer 天地羁旅者（2024）

• 2024
• The Divine Melody 神曲(2022-2025)

• 2019
• Sourceof ThreeRivers 曲·源（2010-2019）

• 2017
• Transparent Estrangement II 膜II

• 2016
• ReportingPhotography 报道（1998-2010）

• 2014
• Fate 缘 (2014)

• 2009
• Transparent Estrangement Ⅰ 膜 Ⅰ

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《 膜III》
塑料这种由树脂等高分子化合物与配料混合成的物质材料，经过受热加压，变成具有轻盈、绝缘、耐腐蚀的物质，可以说，在我拍摄的藏区任何地方都有它的踪影。
2009年完成了《 膜Ⅰ》作品集，主要表达我与藏民族隔膜相望而产生的距离感和隔离感；2016年冬到2017年春，我将做为道具的塑料膜变大，以装置形式放置在被摄体前，想通过这半通明的膜表达我对当时藏地各种现实问题的思考和提问，完成了《 膜 II 》作品集。
从2020年起，我在青藏高原的城区、牧区、农业区以及半农半牧地区，用代表人类生产消费活动和生活消费活动的废弃物——塑料，包裹身体或遮掩面目，完成了一幅幅自拍像。在每次拍摄的时间段里，感受自己内心的变化。

Transparent Estrangement III
Anywhere when i shot pictures in Tibet, I saw the trace of plastic, a substance material which is made of colophony and other macromolecule compound with mixtures. After they are heated and pressed, they become soft, insulated and anti-corrosion substance.
In 2009, I completed a collection of works entitled " Transparent Estrangement Ⅰ", which mainly expresses my sense of distance and isolation from the Tibetan people by looking at each other; From winter 2016 to spring 2017, I enlarged the plastic film as a prop and placed it in front of the subject in the form of an installation, wanting to express my thoughts and questions about the various realities of Tibetan land at that time through this semi-luminous film, completing the collection " Transparent Estrangement II".
Since 2020, I have taken selfies in urban, pastoral, agricultural and semi-agricultural and semi-pastoral areas of the Qinghai-Xizang Plateau, using plastic, a waste material representing human production and consumption activities, to wrap my body or cover my face. During each shooting period, feel the changes in your inner self.