玉龙山上流下了青龙河，青龙河流过了茨满村。在有丽江城之前，就已经有了茨满村。北方来的外族在这一带定居，他们叫自己纳西人。后来纳西人建造了丽江城，他们也就成了本地人。从汉人地区往西藏进行交易的马帮常在此歇脚。这时，茨满村是进入丽江的第一站。再后来，马帮变成了汽车而无需在此停留，于是茨满村又变回一个平静的小村子。青龙河水每年涨起又回落，有时冲开河堤，漫过田野。田野里的庄稼随着时令萌发，繁茂，丰收，腐烂，一茬一茬。种植庄稼的纳西人一代代在这里生长。年年四月，村子开满梨花。
如今，从大理到丽江，茨满村仍然是进入丽江坝子的第一站。连接高速公路的黄山特大桥从茨满村的头顶越过。城市大了，村子小了。这一带的青龙河两岸已少见农田。茨满村的住民们不再耕作，也似乎接受了头顶上的隆隆车声。日子总是在继续，唱古乐的纳西人逐渐变成老者，年轻的人们逐渐离开这里。在城市还没到来的空档，青龙河的东岸却又长起了新的村子。来自外省的人们在此营生：烧砖，修车，养猪，回收垃圾。如果城市不再到来，他们或许会长久居住下去，成为这里新的主人。
看似平静的村庄在被急速改变着，不同来源的时间在这日常生活中并行，对抗，最终消失在同质化的洪流中，或者找到与其共处的方法。此作品回应的正是这些在城市化过程中发生的事件。作品由四个部分构成，分别叙述了地质学的时间、村庄当下的时间、村庄的历史时间以及人的肉身处于这种时间之中的张力。为了在分析现实的同时保持现实的复杂性，不使其沦为某种简化的叙述，我试图提出复调叙事(Polyphonic Narrative) 的方式以再现这些共存于当下的状况。其中，虚构的视角人物与多条线索被构建，它们从不被注意的细节之中起源，在叙事的推进中相互缠绕，此消彼长，让所有图像关联在一起。由此，整个叙事产生了褶皱，线性的时间中产生出循环和暗流，最终使这些图像构成了对现实的解析，将隐藏于现实光滑表面之下的话语解蔽。

From the Jade Dragon Mountain, there flows a river called "the Green Dragon River". The Green Dragon River flows through a village called "Ciman". Ciman Village has existed before the largest city, Lijiang in this area. Lijiang was built by a group migrant from the north, and the migrants called themselves the Naxi. The Naxi went on to build the city of Lijiang, and thus became locals. Lijiang became the gateway of Tibet from the Han lands, and at that time, Ciman Village was the first stop as the trading caravans entered Lijiang city. The horses and caravans stopped at the village to rest. The business of the village flourished. As time goes, new roads were built bypassing the village; horses were replaced by cars, and thus Ciman regained its peace. Every year, the waters of the Qinglong (Green Dragon) River rise and fall. Sometimes the river breaks its banks and floods the surrounding fields. The crops in the fields sprout, thrive, ripen and decay at their appointed times, year in and year out. The Naxi have lived on farming for generations. Each year in April, the village is filled with pear blossoms.
Today, Ciman Village is still the first town you pass as you enter Lijiang area. The Huangshan Great Bridge connecting the highway sweeps over the head of the village. The city has grown, while the village has shrunk. Few fields are seen along the banks of the Qinglong River today. The residents of Ciman Village no longer work the fields, and they seem to have accepted the constant roar of traffic over their heads. The days still pass on. The Naxi People, singing their ancient songs, gradually grow old. The young gradually leave this place. In the empty space where the city has yet to reach, a new village has risen on the eastern bank of the Qinglong River. People from other provinces have set up shop here, firing bricks, fixing cars, raising pigs and recycling scrap. If the city does not come here soon, these new migrants may settle permanently, becoming the new locals.
The seemingly tranquil village is being rapidly changed. Here, times from different sources unfold in parallel in everyday life, struggle against each other, and finally homogenized, or find their ways to live together. This artwork is a response to these contingencies of urbanization. The four components of the artwork speak respectively of geological time, contemporary time in the village, historical time in the village, and the tension of the physical body existing within this time. I attempt to reconstruct these coexisting contemporary situations through a polyphonic narrative approach. Instead of a simplified narrative, the complex reality could be represented with its full complexity and flexibility through this method. In the process, the perspective of a fictitious figure and multiple threads are constructed. They rise from unnoticed details, and entangle each other as the narrative progresses, expanding and contracting against each other until all of the images are linked together. Through this way, folding forms in the overarching narrative, while eddies and undercurrents emerge in the linear timeline. Eventually, these images form an analysis of reality that uncovers the discourse lying concealed under its smooth surface.