Ji’s work questions poetically the boundaries of imagery and reality by engaging the materiality and dimensionality of photography. To embody the materiality of the immaterial, such as human emotions and memory, Ji adopts installation, collage, and modernist techniques—“expanded photography” effective in expressing the singular materiality of the paper medium. The dimensionality of Ji’s works concerns more than the spatial composition of the visual, but the geographical mapping of the temporal—the change in materiality and methodology is a response to the aesthetic and spiritual urge to map the “memoryscape”—a metaphoric landscape formed by intersecting and parallel planes of memory. As a sojourner, forager, and most importantly, a geographer of this memoryscape, Ji constantly invites us into a space of relations through which the artist navigates a shifting urban- natural world and through which the audience is asked to rethink and relive those many connections lost to the noise in our eyes.
她的作品以摄影为起点，通过向外观看映射内心的体验与感知，深入记忆与遗忘行为本身探索个人记忆与庞大历史叙事之间的关联。她关注图像之间的微妙关系，通过排序，打乱，重复等方式，在空间中描绘出“视觉的诗歌”，延展观众记忆的路程。在最近的作品中，她通过结合文字，装置，影像等媒介，延伸二维图像成为立体的“记忆图景”，内化人类共通的情感，在流动的关系中找寻无序记忆的着陆点。