演示使用含视频文章
演示使用含视频文章
演示使用含视频文章
健康元独家国产吸入制剂丽舒同®进入2020年国家医保目录
2020年12月28日，国家医疗保障局、人力资源和社会保障部印发《国家基本医疗保险、工伤保险和生育保险药品目录（2020年）》（以下简称“国家医保目录”），正式公布通过国家医保谈判的药品名单。健康元药业集团股份有限公司(以下简称“健康元”)旗下的丽舒同®（盐酸左沙丁胺醇雾化吸入溶液）通过谈判，正式纳入国家医保目录。
目前，哮喘和慢阻肺的临床常用急救药为沙丁胺醇。沙丁胺醇为消旋体，左旋体为其起效成分，右旋体不仅没有松弛支气管平滑肌的作用，还易诱发心动过速、低血钾等不良反应，严重者可出现酸中毒。左沙丁胺醇的上市，不仅可降低上述不良反应的发生风险，还能更显著地改善患者肺功能、降低患者门诊入院和再入院风险、缩短住院时间，为患者带来了更安全有效的治疗新选择。
吸入制剂为典型的复杂制剂，因在临床治疗中具有诸多优势，是国家优先鼓励和支持研发的品种。这一领域的国内市场正在快速崛起，发展前景广阔。由于吸入制剂研发、生产壁垒较高，仿制难度大，中国绝大部分市场份额长期被欧美日少数跨国药企所占据。健康元响应国家号召，积极布局呼吸系统用药，重点突破吸入制剂研发生产的高技术壁垒，打破跨国药企垄断局面。旗下产品丽舒同®（盐酸左沙丁胺醇雾化吸入溶液）以“国家科技重大专项”、“儿童专用药品”，成为国内独家获批上市的新3类吸入制剂，也是本次国家医保目录纳入的唯一国产吸入制剂。据公开资料显示，健康元于2019年9月获得丽舒同®（盐酸左沙丁胺醇雾化吸入溶液）注册批件,今年8月3ml:0.31mg规格以“儿童专用剂型”获得药品补充申请批准。此次，盐酸左沙丁胺醇雾化吸入溶液进入国家医保目录更是体现了健康元对吸入制剂研发、生产与落地全过程的高度重视，以及国家与医药行业对其产品和技术的认可。
健康元是较早布局吸入制剂的国内公司之一，无论在研发投入还是研发管线均处于国内龙头位置。作为一家集研发、生产、销售、服务为一体的综合型医药集团公司，在董事长朱保国的科研创新主基调下，该集团一直坚持以吸入给药技术平台和创新研发技术平台为突破,深度布局吸入制剂领域。经过多年持续不断地发展，目前公司已形成较为聚焦及清晰的产品研发管线。
无论身处哪个行业，提升科研创新能力、掌握关键领域核心技术，都对企业的发展至关重要。健康元深耕医药产业，不断突破、勇于创新，在打破国外吸入制剂垄断的同时，也为众多患者提供了更多质高价优的用药选择。
健康元在研管线稳步兑现 首仿盐酸左沙丁胺醇雾化吸入溶液新增规格
近日，健康元（600380.SH）披露公告称公司收到国家药监局核准签发的关于盐酸左沙丁胺醇雾化吸入溶液（3ml:1.25mg）的《药品补充申请批准通知书》，同意该药品增加3ml:1.25mg规格。截至该公告日，盐酸左沙丁胺醇雾化吸入溶液（丽舒同）累计投入的研发费用约为人民币3950.16万元。
该产品是在健康元已获批的盐酸左沙丁胺醇雾化吸入溶液（规格：3ml:0.63mg、3ml:0.31mg，批准文号：国药准字H20193279、H20205016）基础上，申请新增规格3ml:1.25mg。首次提交该药品注册申请的受理时间为2021年8月25日（受理号：CYHB2101735）。
早在2019年9月27日，健康元就上市了国内第一个新3类注册获批的盐酸左沙丁胺醇雾化吸入溶液（丽舒同），成为首个在中国上市的左沙丁胺醇吸入制剂。
据介绍，该产品活性成分盐酸左沙丁胺醇为短效β2受体激动剂，其能产生舒张支气管平滑肌的作用，主要用于治疗或预防成人及6岁以上儿童可逆性气道阻塞性疾病引起的支气管痉挛。根据IQVIA抽样统计估测数据，国内盐酸左沙丁胺醇雾化吸入溶液2021年度终端销售金额约为人民币1.81亿元。
健康元在研发管线布局和管理上走“差异化”竞争策略，创新性和成功率两手抓，才使得其丰富的在研管线储备能成功稳步兑现。一方面，健康元注重务实，以改良型新药的研发入手，力争更快、更多地推进新产品上市，不断加强产品矩阵的可持续盈利能力；另一方面，健康元立足长远，坚定、稳步地布局AI药物分子设计、合成生物学等前沿技术，为集团研发管线的创新性、成功率和效率赋予了长期可持续发展的重要内生动力。
2021年，健康元研发投入18.5亿元，同比增长46.75%，占营收比11.63%。除了目前的重点项目重组新型冠状病毒融合蛋白疫苗（“V-01”）以外，健康元全面布局呼吸疾病治疗产品，在研课题超40项，吸入制剂重点产品研发进度也较为领先。其中，治疗支气管扩张症的妥布霉素吸入溶液（首家）、富马酸福莫特罗吸入溶液（国家鼓励品种）和硫酸特布他林雾化吸入溶液已申报生产；富马酸福莫特罗吸入气雾剂、沙美特罗替卡松吸入粉雾剂、莫米松福莫特罗吸入气雾剂等多个品种已开展临床研究，后续产品兑现看点丰富。
CC-MK-00253 A Perceval 13 yrs results of clinical results文献Perceval
CC-MK-00284 A_Poster Sovering 瓣膜成形环
CC-MK-00118-CN A_Poster All products所有产品
CC-MK-00115-CN A_Poster Bicarbon 人工机械心脏瓣膜
Q&A ｜ 陈映舟：我的绘画与现实世界的关系就是我的绘画是现实世界里的一个物体
陈映舟
Chen Yingzhou
1995年出生于广东深圳，2019年毕业于中央美术学院雕塑系第三工作室，2021年毕业于马里兰艺术学院 Mount Royal School of Art (Multidisciplinary Art).
陈映舟致力于结合互联网网民制作图像的思维和传统架上绘画的绘制思维来创作作品，尝试使用meme（梗文化），trolling（巨魔），mash-up（杂糅）， kitchen sink（厨房下水道式的）等早期互联网内容创作思维来消解政治意识形态，热点时事议题，哲学宗教等的宏大叙事。作品形式类似讽刺漫画，波普艺术。手工模仿电脑电子绘图效果，结合漫画，插图的视觉元素。
参展经历：“夹山改梁 第一期”，中央美术学院版画系展厅，2017；“夹山改梁 第二期”，花家地北里小区某二居室，2019；“刚刚骑车突然有人问路，问：前有公园吗”，可以画廊，2019；“绿厂艺术节”，深圳绿厂，2019；“Nose Art Project 群展｜姑且相信”，凹凸空间，2019；“动情，1949后变局中的情感与艺术观念”，中间美术馆，2019；“绘画是观念艺术家的通行证，观念是绘画艺术家的墓志铭”，线上展览，2019；“大老黑”，上海某别墅，2019；“无论盛开还是不盛开，花都是”，可以画廊，2022。
Chen Yingzhou, born in 1995 in Shenzhen, Guangdong, graduated from the Third Studio of the Sculpture Department of the Central Academy of Fine Arts in 2019 and Mount Royal School of Art (Multidisciplinary Art) of the Maryland Institute College of Art in 2021.
He is dedicated to creating works that combine the thinking of Internet users in making images and the traditional drawing thinking of easel painting, employing meme, trolling, mash-up, kitchen sink, and other early Internet concepts to dissolve political ideologies, timely subjects, philosophies, religions, and other grand narratives. His works are similar to satirical cartoons and pop art, handcrafted to imitate the effect of computer graphics, combining the visual elements of comics and illustrations.
Exhibition experience: "Jasagala Phase I," Exhibition Hall of the Department of Printmaking, Central Academy of Fine Arts, 2017; "Jasagala Phase II," a two-bedroom apartment in Huajiadibeili community, 2019; "I was riding my bike, and suddenly someone asked for directions and asked: Is there a park in the front? " Keyi Gallery, 2019; "Green Factory Art Festival," Green Factory, Shenzhen, 2019; "Nose Art Project Group Exhibition｜Temporarily Believe," Aotu Space, 2019; "Moving Emotions, Emotions and Artistic Concepts in the Post-1949 Change", Middle Art Museum, 2019; "Painting is the Pass of Conceptual Artists, Concepts are the Epitaph of Painting Artists," online exhibition, 2019. "Big Old Black," a villa in Shanghai, 2019; "Whether blooming or not, the flower is," Keyi Gallery, 2022.
展览现场
Exhibition View
Q：流淌的液体，扭曲的肉体形象让人联想到克苏鲁文化，为何喜欢描绘这些形象？
A：流淌的液体是画的比较顺手的形象，肉体变形也是想画的更出其不意一些，也没有故意向克苏鲁靠，毕竟都还没画大触手。
Q: The image of flowing liquid and distorted flesh reminds people of the Cthulhu culture; why do you like to depict these images?
A: The flowing liquid is a more comfortable image to paint; the flesh deformation is also trying to paint with more surprises. There is no intentional leaning towards Cthulhu. After all, there are no giant tentacles yet.
Q：恐怖与幽默是你作品中显著的特质，你如何看待这两种元素？它们具有冲突性吗？
A：我觉得幽默是对苦大仇深的反叛，而且对于观众来说不需要门槛。恐怖倒没有故意使用，可能我画出来的东西就是很吓人？
Q: Horror and humor are distinctive qualities in your works; how do you see these two elements? Are they conflicting?
A: I think humor is a rebellion against bitterness and hatred, and it doesn't need a threshold for the audience. I don't use horror intentionally. Maybe what I paint is just scary?
少女与苹果 Young girl and apple
布面丙烯 Acrylic on Canvas
80cm x 60cm
2021
水上运动 Water Sports
布面丙烯 Acrylic on Canvas
120cm x 120cm
2021
夫妻拍档 Husband and wife team
布面丙烯 Acrylic on Canvas
120cm x 80cm
2022
少女、苹果与蜘蛛 Young girl, apple and spider
布面丙烯 Acrylic on Canvas
21cm x 30cm
2021
少女与苹果 Young girl and apple
纸本墨水 Ink on paper
21cm x 30cm
2022—2021
Q：在纸本作品中你频繁使用分格漫画的形式，这种形式对你来说意味着什么？试图表达什么样的观念？
A：可能是因为我有看过一些漫画，所以想用漫画的形式去创作，但我觉得这是一个弱点，因为很多时候无法在一个画框里把想讲的故事讲清楚所以才用分格来扩大空间。
Q: In your drawings, you frequently use the comic book format; what does this format mean to you? What kind of ideas are you trying to convey?
A: Maybe because I have read some manga, so I want to use the form of manga to compose. Still, I think this is a weakness because often, it is impossible to tell the story clearly in one frame. Hence, I adopt compartmentalization to expand the space.
Q：你认为自己分格漫画式的绘画和真正的分格漫画有什么区别？如果有的话，你如何使它成为绘画？
A：我没画过自己分格漫画，我的漫画都是找日常收集来的表格，把格子里原有的内容消除后再填入漫画，所以格子不是我分的，真正的分格漫画的格子是漫画作者分的，他可以按照漫画内容来调整格子，但我的是随机的。但这是不是可以成为绘画或漫画我也不知道，可能看你怎么定义绘画和漫画了。
Q: What do you think is the difference between your own manga-style drawings and actual manga? If so, how do you make it a work of art?
A: I don't draw my own comic book. I draw my own comic book using sheets that I collect every day. I then fill in the content after eliminating the original content of the grid so I don't divide the grid. In a real manga, the grid is divided by the manga author, and he can adjust the grid according to the content of the manga, but mine is random. But whether this can be a painting or a comic, I don't know. It probably depends on how you define artwork and comics.
Comic 5 & 26
纸本墨水 Ink on paper
21cm x 30cm
2020
Comic 27 & 22
纸本墨水 Ink on paper
21cm x 30cm
2020
Q：在纸本作品的纸张选择中你喜欢使用类似宜家说明书或某种表格一类的材料，为什么？
A：使用表格是因为想用表格的格子当成漫画的格子来画漫画，用打印材料是因为有时候面对空白的画纸无从下手，用本来就有内容的纸上可以消除下第一笔的恐惧。
Q: In the choice of paper for the drawings, you like to use something like IKEA instructions or some kind of table; why?
A: use a table because I want to use the grid of the table as the grid of the manga to draw the manga. I use print material because sometimes I can't begin to draw on blank paper, so I can eliminate the fear of making the first stroke on it with a piece of paper that already has contents.
自大狂的坟墓 The grave of egomania
纸本墨水 Ink on paper
21cm x 30cm
2020
Q：你的作品中常出现意识形态符号与批判性，你如何通过绘画来表达它们？
A：我觉得批判倒说不上，顶多算记录吧，因为很多意识形态也就产生不到几十年，而且不久后可能会消失。
Q: Ideological symbols and criticism often appear in your works; how do you express them through your paintings?
A: I think it's not so much a critique but a record at most because many ideologies have existed for less than a few decades and will probably disappear quickly.
凭什么他们能上天堂？我也牺牲了自己！Why could they go to heaven? I sacrificed myself, too!
布面丙烯 Acrylic on Canvas
80cm x 60cm
2021
意识形态批判你需要 Ideologycritiue you need
纸本墨水 Ink on paper
21cm x 30cm
2020
少女和苹果 Lady and an Apple
纸本墨水 Ink on paper
21cm x 30cm
2021
Q：你的绘画与现实世界是一种什么样的关系？
A：我的绘画是现实世界里的一个物体。
Q: What is the relationship between your paintings and the real world?
A: My painting is an object in the real world.
Q：素描在你的绘画中作为一个很重要的语言方式，你是如何看待并使用素描的？
A：素描比较顺手所以用了。
Q: Sketching is an essential language in your paintings; how do you see and use it?
A: Sketching is more comfortable, so I use it.
3p
纸本墨水 Ink on paper
21cm x 20cm
2019
公明少年 Koumei shounen
纸本墨水 Ink on paper
21cm x 30cm
2019
Q：你的纸本绘画与布面绘画在语言形式上呈现出一种混杂与分裂感，你如何看待这种状态，会去想要追求一种相对统一的语言吗？
A：可能是我还没有理解或者熟悉系列绘画的创作动机和过程，导致我想要一张里让画更有意思或者成立。可能到我理解了系列绘画的创作方式之后就会追求一种相对统一的语言吧。
Q: Your paintings on paper and canvas present a mixed and divided feeling in terms of language forms; how do you feel about this state of being, and do you want to pursue a relatively unified language?
A: Maybe I haven't understood or wasn't familiar with the motive and process of creating series of paintings, which led me to want to make the paintings more interesting or justifiable in single one. Maybe I will pursue a relatively unified language once I understand how to create a series of paintings.
Q：最近有什么新的创作计划与方向吗？
A：想要再画点画幅大的作品，或者绘制系列绘画？
Q: Do you have any new plans and directions recently?
A: Want to paint larger works or make a series of paintings?
烂番茄 Rotten Tomatoes
布面丙烯 Acrylic on Canvas
100cm x 80cm
2021
烂番茄 Rotten Tomatoes
布面丙烯 Acrylic on Canvas
21cm x 30cm
2021
无题 Untitled
Acrylic on Canvas 布面丙烯
80cm x 50cm
2020
Iroi
纸本墨水 Ink on paper
21cm x 30cm
2020
少女 Lady
纸本墨水 Ink on paper
21cm x 30cm
2021
少女和苹果 Lady and an Apple
纸本墨水 Ink on paper
21cm x 30cm
2021
圣卡 Saint cards
纸本墨水 Ink on paper
21cm x 30cm
2021
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Q&A｜刘劲祎：波波咯咯波波里波波里波
刘劲祎
Liu Jinyi
1995年生于中国北京，目前生活于纽约。他2018年在马里兰艺术学院获得学士学位（Maryland Institute College of Art），研究生目前就读于纽约视觉艺术学院纯艺专业 （School of visual art, MFA）。
刘劲祎的作品是对艺术创作和日常生活的玩味解读。关注互联网时代的文化性冲突，以及文化冲突背后相互对抗又相互依存的共存关系。艺术家认为，我们当前的信息环境已经超出了人类的感知能力。图像、视频和图形嵌入并不断的增生，迅速的占据了在线世界的每个角落，其数量似乎无穷无尽。“我从这个网络宇宙中收集图片。电子游戏、漫画、流行音乐和网络小说。我将它们作为一个象征性的图像与我的绘画痕迹结合起来。用它们来制造一些充满误解但同时具有乐趣的对话和叙事。”艺术家采用了生物学上有机结合的概念。他把源自不同文化的不同符号看成是生物细胞，并让它们在他的画作中有机的结合，转化为全新的语言和叙事。
近期展览：“变态者绘画指南”，拟像空间，北京，中国，2022；“热烈的共舞于街中”，弥金画廊，上海，中国，2022；“Conceive：怀耘构月”，Latitude Gallery，纽约，美国，2022；“成对的破坏者”个人项目，盘子空间，北京，中国，2021；“No Theater” 放映厅，喜马拉雅美术馆，上海，中国，2021；“正在重新规划路线”，树美术馆，北京，中国，2021。
Liu Jinyi (b. 1995, Beijing, China) is an artist currently living in New York. He received his bachelor's degree (Maryland Institute College of Art) in 2018, and his graduate degree is currently studying at the School of Visual Art (MFA) in New York.
Liu Jinyi's works are playful interpretations of artistic creation and daily life. Focus on the cultural conflicts in the Internet age, as well as the mutual confrontation and interdependence behind the cultural conflicts. The artist believes that our current information environment is beyond human perception. Images, videos, and graphics are embedded and proliferated, rapidly occupying every corner of the online world in a seemingly endless number.
"I collect pictures from this cyber universe. Video games, comics, pop music, and web novels. I combine them as a symbolic image with my drawing traces. I use them to make something misunderstood but fun at the same time. Dialogue and narrative."
The artist adopts the concept of biological integration. He regards different symbols from different cultures as biological cells, and allows them to be organically combined in his paintings, transforming them into a new language and narrative.
Recent Exhibition: “The pervert’s guide to painting”, Simulacra art space, Beijing, China, 2022; “Romantic street dance”, Gene Gallery, Shanghai, China, 2022; “Conceive”, Latitude Gallery, New York, United State, 2022; “Pair of spoiler” solo project, Plate Space, Beijing, China, 2021; “No theater” video art screening, Himalayas museum, Shanghai, China, 2021; “Redirecting”, Tree museum, Beijing, China, 2021.
展览现场
Exhibition View
Q：如何看待绘画中的幽默性，这只是一种个人趣味还是对作品表达有更多的功能性？
A：当然最开始的驱动力是个人趣味，我会把觉得好玩的想法放到作品里。但是后来细想想，幽默性的表达一定有其功能。我之前读过一本书，是哲学家Simon Critchley的On Humour。在这本书里他对幽默有一个解释，“ 幽默可以让我们成为生活的哲学旁观者”。我非常认同。
Q:How do you see the humor in your paintings? Is it just a personal interest, or is it more functional to the expression of the work?
A:Of course, at first, it was driven by personal interest; I would put ideas into my work that I thought was funny. But then I thought about it and realized that humor must have a function. I read a book by philosopher Simon Critchley, On Humour, in which he explains that humor can make us philosophical spectators of life. I couldn't agree more.
Q：根据你的海外经验，中国年轻艺术家和美国年轻艺术家最大差异性在哪？（受教育经历和审美差异）
A：我个人没觉的有什么特别的差异。
Q:Based on your experience abroad, what are the most significant differences between young Chinese artists and young American artists? (Educational experience and aesthetic differences)
A:Personally, I don't see any particular difference.
Q：你在美国纽约做过展览，那边艺术圈从参展到销售是什么逻辑，你的感受怎么样？
A：我感觉挺好的。
Q:You have exhibited in New York; what is the logic of the art circle from exhibition to sales there, and how do you feel about it?
A:I felt pretty good.
孩子们眼中的希望是什么形状 The shape of hope in the eyes of children
丙烯和数字打印拼贴 Acrylic and ink on canvas
157cm × 120 cm
2022
无量の砍在了空处 Infinite blade void
布面丙烯 Acrylic on canvas
150 x 150cm
2021
Q：可以详细介绍一下这种图层式以及PS笔刷式的绘画语言背后的观念吗?
A：我特别喜欢街头艺术。不是那种精致的Graffiti，而是街头那些贴着一层一层，被撕开又有破损的海报和广告，还有那些喷在上面的乱糟糟的线条。我一直认为网络社群就是另一个街头。它从功能上继承了，也在视觉语言上有一定的相似。我会把鼠标的敏感度调高，然后在ps上画出很失控和幼稚的线条，这个感觉和我第一次用Spray paint很相似。
Q:Can you elaborate on the concept behind this layer-based and PS brush-like painting language?
A:I especially like street art. Not the exquisite graffiti, but the posters and advertisements that are torn and damaged and the messy lines sprayed on them. I've always thought of the online community as another kind of street. It inherits its functionality and also has some similarities in visual language.I would turn up the mouse's sensitivity and then draw very out of control and childish lines on ps. This feeling is very similar to my first time using spray paint.
Q：作品中的中文字符，在非中文语境扮演的角色是怎么样的呢? English-speakers对这些符号是怎么认知的呢？
A：我研究生的导师总是问我一个问题，就是 “你的观众是谁”。而我觉得我的作品还是要依托一个中文的语境去解读的。而且我觉得中文字符给我的画面一种特殊的气氛。我小时候特别爱看港漫，什么《天子传奇》那些。每次里面角色用个什么技能，旁边就会有书法字体写的很中二的招数名hhh。所以我画面里的中文的作用一方面是传递信息，一方面是作为一个记忆中的视觉元素去烘托气氛。
Q:What is the role of Chinese characters in the work with non-Chinese contexts? How do English speakers perceive these symbols?
A:My graduate advisor always asked me, "Who is your target audience? "And I think my work still has to be interpreted in a Chinese context.
And I believe that Chinese characters bring a unique atmosphere to my images. I especially loved watching Hong Kong manga, such as "Legend of the Son of Heaven," when I was a kid. Every time a character uses a specific skill, there will be a cheesy calligraphy font that writes the name of the move next to it, lol. So the role of Chinese in my image is, on the one hand, to convey information; on the other hand, as a visual element of memory to enhance the ambiance.
危险危险危险 Dangerous
丙烯和数字打印拼贴 Acrylic and ink print on canvas
121cm x 91cm
2022
世界第三 No.3
丙烯和数字打印拼贴 Acrylic and ink print on canvas
150cm x 119cm
2022
Q：如何看待流行文化对绘画的影响？
A：流行文化是我创作的基础和背景。我认为的流行文化就是当下进行中的文化，不应该解读成有着某种意识形态属性和时代背景的文化。
Q:How do you see the influence of pop culture on painting?
A:Pop culture is the basis and background of my creation. What I think of as pop culture is the ongoing culture of the moment and should not be interpreted as a culture with specific ideological attributes and the background of the times.
Q：你怎么看待在今天当代艺术的状态，绘画这个媒介, 或者说你为什么选择绘画？你想表达的是不是必须通过绘画才能实现？
A：我也不是只做绘画，我也做装置和影像。但是绘画我觉得是更私人和自由的。
Q:How do you see the painting medium in today's state of contemporary art, or why did you choose painting? Does what you want to articulate have to be realized through painting?
A:I don't only do painting; I also do installation and video. But as for painting, I think it is more intimate and accessible.
成对的破坏者 Pair of spoiler
互动装置及影像 Interactive installation & video
2022
每天跑步让我减了10斤 Lost 10bls by running every day
影像 Video
2020
铁甲蛹的爱情 Metapod love
互动装置及影像 Interactive installation & video
2020
Q：艺术家是否该将社会实时动态和新闻融入进创作？
A：我不会说该不该，我很反感艺术家责任这种东西。但是我觉得肯定是会收到时事影响的。我觉得我在创造时总是会不自觉的联系到一些对社会新闻的感想，可能老是逛知乎逛的头大。
Q:Should an artist incorporate real-time social developments and news into his work?
A:I wouldn't say yes or no; I detest such things as artist responsibility. But I think it is definitely influenced by current events. I guess I always unconsciously connect to some feelings about social news when I create; maybe I always have a headache from browsing Zhihu.
前有朋友 Friend ahead
布面丙烯 Acrylic on Canvas
157cm x 157cm
2022
星之卡比 Star@snorlax
布面丙烯 Acrylic on canvas
120cm x 94cm
2022
我已再不渺小 I am not little anymore
布面丙烯 Acrylic on canvas
152cm x 198cm
2022
Q：你的作品使用了大量的视觉符号现成品，你是如何做出这一选择的呢？
A：我觉得使用现成品不是一种选择，对他们视而不见才是吧，毕竟身边到处都是。如果非要跳过这些去选择别的，有点不自然。
Q:You use a lot of visual symbols in your work; how did you make your choice?
A:I don't think it's a choice to use ready-made products; it's a choice to ignore them; after all, they are everywhere around us. It's a bit unnatural to have to skip them and choose something else.
到此一游 Was here
布面丙烯 Acrylic on Canvas
162cm x 167cm
2021
剪影你的轮廓太好看 I am in love with the shape of you
布面丙烯 Acrylic on Canvas
187cm x 111cm
2021
热烈的共舞于街中 Romantic street dance
布面丙烯 Acrylic on Canvas
190cm x 114cm
2022
社交名流巨像保镖 Celebrity look like security
布面丙烯 Acrylic on Canvas
137cm x 127cm
2021
什么玩具可三人共享 Toys that can be shared
布面丙烯 Acrylic on Canvas
167cm x 96cm
2021
Give me a computer when I am 18
布面丙烯 Acrylic on canvas
157cm x 157cm
2022
Teeeeam work
布面丙烯 Acrylic on canvas
170cm x 96cm
2021
拜泪 Save your tears
布面丙烯 Acrylic on Canvas
101cm x 119cm
2021
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