Born in 1986 in Macao, he studied in the Oil Painting Department of the Guangzhou Academy of Fine Arts, and has systematically mastered the language system of painting in the post-media era. As an early decoder of meta-cosmic aesthetics, he uses ‘light’ as a scalpel to cut open the skin of digital civilisation, tracing the collective trauma and ecstasy of human migration from the atomic world to the bit world.

 

Lei's creations have been described as ‘the manifestation of the ghosts of data’ - in the #Rainbow series, he translates the rainbow spectrum into a visual code of virtual symbiosis, implanting the coordinates of the information flow, the frequency of the sound wave and geographic data, and reconstructing the aesthetics of the Instagram hashtag into a contemporary ‘Divine Comedy’: it is not only a totem of the beliefs of the digital indigenous people but also a symbol of the monopoly of capital traffic. It is both a totem of the faith of the digital natives and a pathological slice of capital flow monopoly. The ‘Sublime Sequence’ series, on the other hand, uses industrially repetitive fluorescent pulses to simulate the breathing rhythms of the virtual sub-dimension, and the seemingly mechanical stacking of ribbons is in fact a metaphorical indictment of the ‘996 style of existence’, as well as a rewriting of the bloodline of the Platonic allegory of the Cave.

 

His solo exhibitions have been held at the Digital Art Centre in Lisbon, the Technology and Art Laboratory of the Kuandu Museum of Fine Arts in Taipei, and the Macao Art Garden, and he has been nominated for the Orient Foundation's Annual Art Prize in Portugal, and the Rise Art Prize in the UK (a competition for the first prize for a new artist from around the world). His works have been included in the ‘Posthuman Aesthetics’ cases by the European Federation for Virtual Art Research and the Macao Museum of Art, and have attracted the systematic attention of the collectors of Silicon Valley's tech giants.