I have always been concerned about the “Drifting Identity”, mainly in cross-cultural integration, international symbol recognition and its radiative impact. The art work “1001 Happiness” is an animation. It is based on the most successful fictional Chinese character Dr. Fu Manchu, who was introduced in a series of novels by the English author Sax Rohmer during the first half of the 20th century. Dr. Fu Manchu is a fictional villain Chinese character. The term “yellow peril” has been continually affecting North America and Europe because of this image until the present.
This image has not lost its meaning over time, such as a cyclical psychological trap. Prejudice must build a wall of misunderstanding, once character likes “Fu Manzhou” appears.
Did we create the images to distinguish ourselves from others? Or did the images themselves distinguish ourselves from “others? My works should provide a channel for dialogue between “us” and “others”, as a double prism of reality and imagination, to questioning in a poetic and ridiculous way.