2011－2012年在苏黎世艺术大学学习的时候参与到一个十分有趣的课程，班上同学竟然是来自不同系所的。这个课程主要关于苏黎世某个车站的这个公共空间。苏黎世的日照特别好，在与老师和同学一起讨论分享的过程中我决定用影子这个元素，便开始了对它的研究。
首先是收集了很多的素材，不同种类的，型态的变化等等，基本都是随着感性去寻找发现。在这个课程中也做了两个关于影子的作品，一个是通过程序分析摄像头数据，把影子转化为一个可弹奏的乐器，然后在大街上演奏；另外一个是给这个车站产生的影子做了记录，然后用这些影子的片段制作了一部视频作品。第二个作品花费的时间比较长，在拍摄的过程中我对影子产生的这个“门”的感觉越来越明显，它就像是通往另外一个空间的门，人们都生活在二维的世界里，去除了色彩，去除了立体。
Shadow generator:
In 2011-2012 I was on an exchange program studying in Zurich University of the Arts. There was a very interesting course participated by people from different majors. This was a course about the public space in the bus station in Zurich. Zurich has great sunlight. While I brainstormed with the professor and my classmates, I decided on focusing on the element of shadows. To start, I collected different shadow materials, all based on my instinct. I made two works related to shadows. In one of them, I created a program to analyze the data from the camera and transformed the shadows to a playable instrument to play in the street. In another work, I recorded the changing shadows in the bus station, and make a video with them. It took longer time to make the second one. In the process of videotaping shadows, my interest in shadows increases. It was like opening a door to another world, where people live in a two-dimensional work, without colors and three dimensions.
影子飘忽不定，看的到却摸不着，靠光线产生，我很想知道它具体的形成原理，为什么有时候就那么虚，有时候又那么的实，它的色彩变化又是如何产生？我开始了对影子研究。在这段时间里，我没有做太多的作品，一直都在制作一些研究影子的道具。
Shadow is elusive, visible yet untouchable. It is dependent on lights. I eagerly wanted to know how it comes to be, why it is vague sometimes yet clear at other times, and how does it changes colors. I began to explore shadows. During this period of time, I didn’t really make other works but working on making tools to study shadows.
2012年，研究生毕业创作，作品就是最初的影子发生器，这个其实还是一个研究影子的机器，因为它有一部分的功能还是在帮助我搞清楚一些还不明白的规律。 我做了一个大型的支架，上面放置了链接电脑的主机，主机里面是各种的电路和控制器转换器，外面链接各种亮度的灯光，链接灯光的支架有上下伸缩的功能，也受 控制于电脑。光线的运动与变化直接影响着参观者的影子生成，我当时希望能更多地开发影子的表达力。
In 2012, for my M.A graduation work, I made the first version of shadow generator. It was a machine that studied shadows; its major function is to help me to understand how shadow originates and works. I made a big bracket and on it I placed … the movement and changes of the lights directly affect visitors’ shadows. At that time, I want to explore more into the expressivity of shadows.
大型的影子发生器之后，我狠了点心，找到了专门定制电路版的厂家制作了迷你电路，和制作机械的地方，把原来3米＊1.5米的控制器缩小成了直径为60cm 的这个三层蛋糕。但是在这个过程中消耗的时间实在太太太长，整整有半年多的时间在等待上，效果没有预想的好，当中有很多我想法不成熟的问题，同时我认识到 艺术的制作必需尽可能的由艺术家自己来完成，控制力和手的感受力都交给它者完成的作品,我认为是没有太多情感的。
因此在制作2014年这个控制器的时候，我开始强迫自己解决所有问题，虽然有点漫长，但是自己能重新获取控制权感到十分的高兴。在这个版本的控制器中我减去了不必要的控制方式，加大了输出功率以及对整体外型进行了修改。目前影子发生器仍然进行更多的实验和新可能性的尝试。
While I was making this shadow controller in 2014, I forced myself to solve all problems. It took a long time, but I was happy because I could regain more control over the machine. In this version, I got rid of unnecessary control on the machine controller, increased its output power, and changed the outlooks. Currently, I am still exploring more possibilities with the shadow generator.
作品介绍：2012年在研究梦境时发现了影子，于是对影子作了一系列的研究同时创作相关作品。其中《影子发生器系列》是一种可以把影子打散，分离再重新组合的机器。它控制着影子的情绪，就像实时编写着我们现实的梦境。身边的影子就如一场正在生长中的梦，一场集体的梦。
In 2012, I discovered shadow while studying dreams, so I did a series of research on shadows and made some work. The shadow generator series is a machine that can break up shadows, deconstruct and reassemble them. It controls the emotions of shadows, like writing our dreams in real-time. Shadow around us is like a growing dream, a collective dream.