Disposable Landscape, my thesis project, transforms cheap mass-produced products into poetic photographic images that evoke the aesthetics of traditional Chinese landscapes. My process is not merely an act of visual imitation but instead a critical reconfiguration of cultural symbols emptied of meaning, over time, through a process of commodification. By deconstructing and reassembling these symbols, I explore how tradition operates in contemporary ideological systems, both as a nostalgic construct and a site of contradiction.

Drawing from my background in classical Chinese art, I use photography to navigate the boundary between spiritual ideals and consumer realities. I select disposable materials that carry metaphorical weight and reframe them through techniques including photo stitching and macro imaging. These methods allow me to create images of extreme detail and clarity and draw viewers into a visual experience where illusion and critique coexist. The visual language I construct is calm and meditative on the surface, yet beneath it lies a tension between authenticity and simulation, nature and spectacle. My images suggest that what appears “traditional” may, in fact, be a reflection of contemporary desires shaped by power, ideology, and mass production.

My practice questions the ways in which cultural identity is assembled in the present day and the means through which symbols once tied to philosophy and class become hollow signs in a consumer-driven world. Through the use of visual ambiguity and symbolic layering, I aim to create spaces where viewers can reflect on the shifting meanings of culture, memory, and representation in a globalized age.