By reviewing my previous studio practice, they seem to have never left the concept of Translation. Starting with words, I tried to capture the scene around me; some of them are realistic, figurative, some are abstract. The text transformed into drawings initially, and then, some parts of the drawings transformed into the clay. Translation eventually becomes a form of transformation. I considered myself as an extruder when I was doing all these transformations, accepting information as the same as an extruder accepting clay, then squeezing and reforming them into a personal, unique pattern. I grew up in China in the 1990s under significant changes with a lot of readings about folk tales and religious murals, which gradually became the material of my visual language. Reality and imagination, balance and disorder, violence and intimacy, aggression and cowardice, humor and questioning are all carried out at the same time.