? His works are beautiful and sentimental, buttressing the classical literati temperament with modern scenes, blurring the sense of history and reality, broadening the way of video narrative, reflecting the compromise, confusion and powerlessness of the new generation of young intellectuals between the affluent material life and the increasingly scarce spiritual world, and at the same time implying the helplessness of the traditional Chinese culture that has been trampled by the modernization frenzy.
? The Thai portion of the work, I Hate This So Long Night, was inspired by the landmark Buddhist stone palace known as the Little Angkor Wat in Phi Mai district of the northeastern province of Korat, which has been well-preserved to this day. The landmark is a preserved Buddhist stone palace known as Little Angkor Wat, which locals were not allowed to set foot in until it was recognized as a World Intangible Cultural Heritage site. The artist combines its mysterious legend with the world of Phi Mai's streets, with three young Thai girls playing the reincarnation of a modern-day sister and princess, presenting the audience with the special texture of Southeast Asia's Buddhist allusions in a contemporary context. The Chinese part of the film was shot in the urban space of Shanghai, which the artist is most familiar with, and the Thai filming was projected on the landmarks of different locations and recorded again. In addition, there are also observations of stray cats at night, which add a new dimension to the ancient narrative by using "Shanghai at Night" as a metaphorical replica of a small Thai city from the perspective of a "third eye".
? Over the years, Yang Fudong has devoted himself to challenging and practicing the boundaries between the pioneering video medium and the traditional film narrative. He has not only formed a distinctive personal style in the visual dimension of "meaning" and "image", but has also insisted on placing his thoughts on the essence of contemporary art in a more far-reaching ethnic, historical and cultural context. He also insists on placing his thoughts on the essence of contemporary art in a more far-reaching national historical and cultural context. In addition to capturing the texture of the contemporary context, the classical oriental heritage has always been the source of Yang Fudong's works. In today's post epidemic era, when globalization has receded and Asian culture is being re-examined, the artist has organically combined the ancient narrative of Thailand with his own creative lineage, expanding a new vision of contemporary video art that is more localized.