Silin Liu, also known as Celine Liu, dismantles the authority of the photographic image by seamlessly inserting herself into iconic historical portraits, posing alongside figures such as Pablo Picasso, Mao Zedong, and Marilyn Monroe. Her interventions disrupt the stability of cultural memory, rewriting history on her own terms. By restaging and redistributing these manipulated images, she forces us to confront how easily visual history can be rewritten, challenging the assumed objectivity of the past.

Liu Di takes a different but equally subversive approach, manipulating photographic reality to critique the uneasy coexistence of nature and urbanization. In his surreal compositions, a colossal rabbit perches on the ruins of a housing complex, while an enormous tiger lounges against a crumbling facade. Both playful and unsettling, these images amplify the artificiality of human expansion and expose the absurdity of our attempts to dominate nature. His exaggerated creatures act as ghostly witnesses, making visible the ecological dissonance that modern development often seeks to ignore.

Both artists use photography not as a tool of documentation, but as a means of disruption. Silin Liu interrogates history and identity, echoing Roland Barthes’ notion of the photograph as a "certificate of presence," only to ask what happens when presence itself is fabricated. Liu Di reveals the precarious balance between civilization and nature, exposing the surreal consequences of unchecked development. Together, their works underscore photography’s evolving role in shaping perception, urging us to question where reality ends and fiction begins.