As economic development has taken top priority in national policies, China has changed. Its people have changed even more. Everyone is satisfied and proud of, the achievements of reform and rapid development, as epitomized in the slogan: “One change a year, one big change in three years, and one unidentifiable transformation in five years”. It seems that the future will be much brighter as long as we keep to the road of “socialism with Chinese characteristics”. Take a look at our cities overflowing with skyscrapers, shopping plazas, karaoke, discos, bars, clubs and so on. This overabundance of foreign things has “popularized” our agricultural country. But this popularity is somewhat funny, somewhat contradictory, and somewhat wild. Traditional and elite culture has been weakened with vitality negated and discarded into garbage bins. This is the new century and the new China. I should pay “tribute” to this contemporary China that is a source of artistic inspiration and helps me find points at which to enter and explore contemporary society. In order to eulogize this glorious life – which is sweeter than honey brought over by economic reform – I use stage theatrics and performance and make the camera narrate present day stories. For China (with a population of more than 1.3 billion) clothing, food, housing and transportation are the fundamental needs to be satisfied. Everyone likes to wear the latest brand-name fashions. To satisfy such a need, fashion manufacturers and merchants produce foreign-trade clothing. China, like other developing countries, is home to a thriving “fake brand-name” industry, and there is an illegal trade in clothes smuggled from other countries. In terms of housing, what requirements do the Chinese people have? As China “surpasses Europe and catches up with America”, developers of real estate have created out of their rich imaginations such terms as ‘Chinese Manhattan’, ‘Oriental Versailles’, ‘Roman Garden’, ‘SOHO’, and ‘European Classics’. These superfluous terms mistakenly lead people to purchase expensive houses combining French design, English chambermaids, Italian furniture, Japanese flower arrangement, German flooring, Dutch lighting, and North European taste. It seems that such houses are as perfect as the world unifying all the countries. It can be imagined that they will be as funny and ridiculous as ‘the Emperor’s new clothes’, which is both the best and the worst – all in one. It is well known that McDonald’s and Pizza Hut are just fast-food chain stores in Europe and America, similar to Baozi and noodle restaurants in China. However, when they came to China, they became the top cuisine. They are as hot a rendezvous spot as a five-star hotel, where people have parties, invite friends, celebrate birthdays and meet lovers. They have become important places to be seen in Chinese metropolises.

I used to dream about becoming a soldier, a beloved man. Up until now, this dream has not been realized. Nowadays economic reform and modern reconstruction are like a war that progresses and changes rapidly and intensely. In this war, we have to face contradictions from both Chinese ancient civilization and modern western civilization. In my works, I call these contradictions ‘Another Battle’. In this battle of ‘defending our country’, though without fire and gunshots, I portray myself as a defeated commander. ‘Finally’ I become a beloved man who, however, will never be written into history. To keep track of my reflection upon our past, consideration of our present and depiction of our future, I find the urban sculpture best reveals our history and ideal. However, I pose some doubts on what we have achieved and what we are expecting. In 2003, I created a series of ‘false flowers’. There are five works, three vertical and two horizontal. The flower I chose to depict is peony, symbolic of national brilliance and prosperity since it is the national flower in China. However, I made the petals of the peonies out of fresh vegetables, lamb and chips. I shot one set when they were fresh and then again after the peonies had been frozen. This gives a transition from prosperity to solidity, from brilliance to decay and acts as a metaphor for we have experienced in our history so far.

My two latest works are China Mansion and Romantique. Since 2000, China has made several achievements. For example, it is hosting the 2008 Olympics and has become a member of the WTO. These achievements bring China into much closer contact with other countries and the whole nation is full of aspirations for a wonderful future. The key phrase in the mass media is: ‘Tomorrow will be more prosperous!’

China Mansion creates a man-made family gathering summarizing my perception of the Chinese social reality after its opening up to the world. China has been very enthusiastic about inviting foreign experts in economy, technology, architecture and culture to give support and guidance in its open-up program. These foreign specialists help create many opportunities. However, they manufacture many uncertain ideas. The magnificent house in the piece is decorated with old-fashioned Chinese furniture and popular western consumer products. Actors play the foreign guests, which include figures from paintings by Ingres, Courbet, Manet, Gauguin, Rembrandt, Rubens etc. I hoped that these figures would communicate with each other across the centuries and with Chinese culture but it seems as though my hope fails…

Romantique creates an outdoor fabricated paradise composed of a forest with plastic leaves and fruits, flowers, and little ponds decorated with floating light smoke to create a romantic utopia. Viewers can imagine false happiness here. Again, I invite Chinese models act out figures in western masterpieces such as Massacio, Velásquez, etc., and there is a Chinese golden Buddha with livestock to highlight the potential cultural conflicts. These two works share the theme of a false man-made utopia. For me, such a fabricated ideal is a daydream, with no hope of being realised.