This work aims to explore the boundaries between myth and history. Lop Nur is referred to as “Young Marsh” in Shanhai Jing, or the Classic of Mountains and Seas, and has undergone changes from its mythological existence all the way to the present day. From a lake to a dry surface, it has recently started to accumulate water once again — its mysterious nature having never disappeared. For the painting in Lop Nur I chose the work Jingwei from my Phantasia series, starting from which I began a systematic reflection on myths and origins.

The boundary between myth and history is also a blurry zone because “myth” not only refers to unverifiable stories and beliefs but bears special significance in describing the origins of cultures. It explains why humans exist in such a way or why cultural norms develop in such a manner. Thus influencing the course of history, the meanings of myths themselves are far more important than the doubting of their authenticity. Jingwei is like Sisyphus in Greek mythology.

A person’s life can be regarded as a complete history of the universe, from nothingness to organic life, from unconsciousness to consciousness. Singular historical perspectives are misleading. We need multiple perspectives to discuss issues more broadly together.