Solar Protocol (2021) explores natural rather than artificial intelligence. The work takes the form of a website hosted across a network of solar powered servers, installed and maintained by volunteers around the world. The website is then served to visitors from wherever there is the most sunshine in the network. The project reconfigures internet protocols with the logic of the sun. Decisions like where internet traffic is sent and what content is displayed on the site, are automated according to an environmental logic derived from the season, the time of day and weather conditions.

The artist tries to explore the form of time in space through the creation of the installation. At the same time, lamps, clocks, celestial bodies and cosmic systems are juxtaposed to provide a vague, relative and subjective space-time coordinate for this exhibition.

Three Catalan Solids robots with shell made of plaster are rolling on a hexagonal arena. They read Astronaut, Cosmonaut and Taikonaut respectively, while chasing each other but always keeping a certain distance. Angular balls are not suitable for rolling, and they will gradually become damaged as they roll, losing their edges and approaching a uniform sphere that is best suited for rolling. Outside the arena, three televisions acted as "commentators" for the competition, broadcasting the actions of three countries in space on a loop. This work carries a reflection on the division of the "space race" and a vision of the future when humanity unites to walk toward the universe.

When a virtual sword is left during the exhibition, it will remain in the place. In the virtual space, it is not affected by the rotation of the earth. The position of the work is the mark carved on the ship, recording where the sword fell. As the earth rotates, the artwork will pass the sword again, and we will find it again on the screen, thus, makes this ancient fable story possible. A man in the State of Chu was crossing a river in a boat. His sword fell into the water. He quickly made a mark on the side of the boat with his knife and said, "This is the place where my sword fell down." When the boat stopped at its destination, the man followed the mark carved on the edge of the boat and went into the water to look for his sword. The ship had gone a long way, but the sword was still in the same place. Wasn't it a silly way to find the sword?

Inside this mirrored space, there's a bird and a camera that can identify the bird. controlled by the trained AI system, the camera is constantly looking for and monitoring this real bird through its written "code" in a space filled with mirrors ("false"). however, it is also possible that the camera might captured the image of a fake bird in the mirror.

In the FALL AGAIN, FALL BETTER #2 (2019) installation, a group of computer-mod- elled human figures is presented on the screen and, when stepping on the pressure-sensitive floor mat, the viewer causes these people to fall and then stand up again. Each of these synthetic human figures is constructed according to the physiology of a push puppet. A computational model of this toy is applied to the musculoskeletal physiology of the simulated human figures, causing a characteristic dis-jointed behaviour in their acts of falling and in the resultant disorder of their body and limbs. This algorithm also incorporates a random function that causes the figures to fall differently each time, so that each derangement of fallen bodies is singular and never repeats. The installation's title contains a reference to Samuel Beckett's most famous and bleakly uplifting quote: "Ever Tried. Ever Failed. No Matter. Try again. Fail again. Fail better." Failure and falling are synonyms in a language of anxiety that has always haunted the global consciousness. It is a discourse that travels from the metaphysics of the Fall and the mortality of all life forms, via history's natural disasters and man-made calamities, to arrive at the Buster Keaton tragicomedy of our everyday mishaps. In this frame of mind, the installation is a monument to the fallen that takes the form of a risibly cruel theatre of continuous re-enactment. Here, each viewer is both witness to and inter-actor in a Beckettian striving for the betterment of the fall that can be rehearsed time and time again.

The body moves with the waves on the beach.

The Dark Side of Light (2018) is a field-specific installation in which the opening and closing of the louvers are controlled by sound. This installation transforms and regulates the natural light that permeates the exhibition hall, constructing an automated system that dissects our perception of the body and space, as well as new thoughts about the relationship between man and machine.

Where the City can't See (2016) is the world's first narrative fiction film shot entirely with laser scanners. Set in the Detroit Economic Zone (DEZ) and shot using the same scanning technologies used in autonomous vehicles, the near future city is recorded through the eyes of the robots that manage it. Across a single night a group of young car factory workers drift through the Detroit in a driverless taxi, searching for a place they know exists but that their car doesn't recognize. They are part of an under- ground community that work on the production lines by day but at night, adorn themselves in machine vision camouflage and the tribal masks of anti-facial recognition to enact their escapist fantasies in the hidden spaces of the city. They hack the city and journey through a network of stealth buildings, ruinous landscapes, ghost architectures, anomalies, glitches and sprites, searching for the wilds beyond the machine. We have always found the eccentric and imaginary in the spaces the city can't see.