The centerpiece of Wandering in the field is a sculpture of a giant head. The giant head sculpture is comprised of two separate parts, each welded from metal rods. Some of these rods are partially wrapped in yarn. Wheat straw is stuffed inside the sculpture and scattered around it, with a bale of straw standing nearby as an accompanying installation object that invites the audience to sit.

The concept of the giant head originates from the sense of alienation that comes with being an individual in the vast and intricate structure of society. For many of us, our accomplishments seem inadequate, and our labor is often evaluated as a collective good to be traded and calculated. Media propaganda often drowns out individual voices, categorizing them under various 'isms,' which makes our presence almost indistinguishable from absence. The giant head is monumental in its sheer size, occupying space and symbolizing an anonymous presence without any labels, intriguing stories, or profound achievements; it is a monument to collective personhood. 

The use of metal represents the industrial aspect of our society; it is modern, urban, and processed. The use of straw represents nature; it is raw, rural, and symbolizes the parts of our identity that remain unrecognized and left behind by modern society. Straw is often seen as worthless, reflecting those aspects of ourselves that modern society deems insignificant and unworthy of being measured or utilized within the context of consumerism. Yet, these overlooked or forgotten parts are crucial components of who we are.

The yarn represents our emotions and thoughts, weaving together the natural and modern parts of ourselves. It carefully wraps the metal rods, adding color and softening the stark division between modernity and nature. The repetitive binding and twining of the yarn mimics our thought processes as we contemplate the attributes we are born with and the identities imposed upon us by society. Our own interpretation of our societal identity adds another layer to our true self.

My inspiration stems from witnessing people transition from rural to modern identities and observing the impacts of urbanization and industrialization as someone born and raised in China. Many older generations are rushed into modern society by the tides of time and change, their "outdated" and rural traits overlooked or even scorned by society. For the younger generation, growing up in a highly industrialized and consumerist society brings a sense of homogenization, constantly feeling labeled and defined. When discussing traditions or reflecting on the past, there is often a sense of disconnection. These contrasting qualities in the older and younger generations inspire my exploration of how society shapes our identities and how we respond to them.

"Wandering in the field" holds two meanings for me. One refers to the complexity of identity; like walking through an endless field without a specific destination or departure time, it evokes a sense of boundlessness and solitary reflection on oneself and the surrounding environment. The other meaning pertains to my uncertainty in the art field. I struggle to find terms that accurately describe my work, and I find it difficult to categorize my creations. Often, I am unsure of what I am doing or the story I want to tell. Perhaps I feel compelled to speak out but don't know for whom or for what cause. This uncertainty drives me to create a giant head, as a souvenir for all those who feel lost, symbolizing the weight and scale of our presence.