In the series of works in Track, he used plastic bags as the core medium. As the most representative non-degradable waste of late-stage capitalism and disposable consumer society, plastic bags carry the ultimate symbols of cheapness and industrial consumption. He abandoned traditional brushes, directly wrapping his hands in recycled plastic bags, pressing, pulling, and carving on canvases and wooden boards, leaving behind a unique texture with a high degree of randomness, a sense of tracks, and an industrial tactile quality. On a phenomenological level, he viewed this rough physical operation as a channel that dissolves the linear hierarchy of “artist-tool-canvas,” directly connecting bodily senses and the depths of the soul, while also serving as a visual satire of the unrestrained development of consumerism.