2008-2017
藝術家在國內國外兩個體系裡學習過藝術，出現了觀念轉變，在國內強調基礎和技巧，國外講究形式和思考過程，所以互相矛盾互相滋養。繪畫作為藝術家最初的出發點，也是在創新更難的境地，所以學生時代顯露更多的是純粹與執著，後期開始受到其他材料的影響，有了另一種有趣的表達。
Artist Chun finished her student time in two different systems, in China and in France. There was something changed. The Chinese school pays more attention in the skills than the French school but the French school are interested in what the student think about and how to develop their arts. As those opinions almost contradictory broken through the rules in her mind, she found a way to mix the different between two systems even though it gives her some pain.
The painting is her starting point in art, so Chun's student work presents a feeling pure and persistent. With create something new in painting method is more and more difficult in nowadays, the artist used the new ideas and other methods to enrich her paintings. This is why her later works changed and being interesting.
2017-2018
藝術家在未畢業時就開始接觸藝術空間以及美術館，有進行小型展覽的實踐。不過在幾年前國內的藝術空間並不像今天這樣成熟，而大多數畫廊和美術館都集中在特大型個別城市。近幾年各種藝術空間開始普遍興起，不同風格不同取向，藝術家也更加活躍。所以在2017年藝術家回國後，就籌備了不同的展覽，也是在對從前說再見開始一個更大膽的實踐。
而從興奮到安定再到穩健，藝術家開始梳理自己曾經眾多興趣主線，開始明晰孰輕孰重，不能停止學習，於是基於不同的母題開始深入研究，比如從很久之前就已經開始的主題“夢”，後來在與人相處中觀察並分析起自身與周遭的“關係”，再之後就是如何更新現有的繪畫語言。
Before graduation, artist begun to contact the art museum and the gallery, sometimes she held an exhibition in the art space. And after that Chun came back in China August 2017 when the art space mechanism is not mature enough in most Chinese cities, but there are many nice talent and art resource in large cities. In recent years many different style and different aesthetic art space sprung up in provincial capital cities, the young artists became more active than before. So Chun had some opportunities to make her solo exhibitions in different cities in China. For her, the exhibition is a farewell to the past and a big challenge to continue a new practice.
As we know, from a green and unripe time to a stable and sound time, artist must pay more attention to make her choices and to find the essence. Chun arranged her sentiment from exciting to calm and keep studying through the researches, for example she went deep into her works’ motif like “dream”, “relationship”, “garden” and so on.
2019-2020
2021
视频作品名称：《丢失的时间》《Le temps perdu》 2017 4:38
https://v.youku.com/v_show/id_XNTE3NjA1NjcyMA==.html
视频作品是在法国准备毕业那一年制作的有关声音以及虚构记忆的作品。在准备一个毕业视频作品的时候，因为一次操作失误导致一个近1T的移动硬盘素材丢失。在数据为上，什么都在靠照片、视频证明存在的时代，没有一个图像留存的时间我们还能拼凑出多少正确的记忆。而人们习惯性的篡改或者美化记忆的那些以为正确的存在是否真实可靠？这件作品也算是我对这个遗落在移动硬盘里时间段的缅怀以及沉思。默哀一个忘记如何靠眼睛思考的时代，镜头取代了眼睛。
视频作品是在法国准备毕业那一年制作的有关声音以及虚构记忆的作品。在准备一个毕业视频作品的时候，因为一次操作失误导致一个近1T的移动硬盘素材丢失。在数据为上，什么都在靠照片、视频证明存在的时代，没有一个图像留存的时间我们还能拼凑出多少正确的记忆。而人们习惯性的篡改或者美化记忆的那些以为正确的存在是否真实可靠？这件作品也算是我对这个遗落在移动硬盘里时间段的缅怀以及沉思。默哀一个忘记如何靠眼睛思考的时代，镜头取代了眼睛。
Art Video: 《The lost time》2017 4mins38secs
Introduction：This art video has finished in the last year when I studied in France, it’s about the sound and the fictitious memory. All the inspiration is from a terrible error that the information in my 1T mobile HDD has been missed and covered when I tried to prepare clip my graduate videos. Shall we collage a whole impression with no image in this age that we use the photo and video to prove what we do how we live. And our memory without photo trace is solid and reliable? Actually, we got used to modify our memory, for example beautify or miss details. This video replaced my disappear photos remains until now, as if I stood in silence tribute for an age that has forgotten how to think with the eyes, the camera lens has replaced our eyes.
Art Video: 《The lost time》2017 4mins38secs
Introduction：This art video has finished in the last year when I studied in France, it’s about the sound and the fictitious memory. All the inspiration is from a terrible error that the information in my 1T mobile HDD has been missed and covered when I tried to prepare clip my graduate videos. Shall we collage a whole impression with no image in this age that we use the photo and video to prove what we do how we live. And our memory without photo trace is solid and reliable? Actually, we got used to modify our memory, for example beautify or miss details. This video replaced my disappear photos remains until now, as if I stood in silence tribute for an age that has forgotten how to think with the eyes, the camera lens has replaced our eyes.
《逃离害怕本身这件事》蒋纯
https://v.youku.com/v_show/id_XNTE3NjA2MDI2NA==.html
作品详细阐述：
我们都会害怕，而害怕本身这件事总容易被忽略，我们为什么会害怕？心理学和医学会给出非常多解释，集体无意识、记忆重现或者大脑内短回路、长回路等等，但是那些外因和客观讲述真的会消除内心的那一丝冷意和战兢吗？我个人感觉没有。不管是走在昏暗无灯的街上还是在一个陌生的封闭式公共厕所，一片荒坟或者其他的让我汗毛直立的场景，我依旧会有后背发凉的感觉。
此次的实地装置很考验艺术家处理作品以及环境的关系，半命题作业，而潮湿的环境也十分不利于布展。策展人帮助我找到了废弃的旧椅子，后因高度换到了桌子以期更好的效果。电视机的找寻也花费了一番功夫，黑白电视机早就因为更新换代被淘汰，经过改装的机器更少之又少。为了达到当初立意有关于对最后一格厕所以及其传说的害怕，装置也被设置在展览公共厕所的最后一格。而当我和朋友谈论这件事情，发现多半鬼怪或者吓人的传言基本流传在女生之间。我调整方案后用了黑色的纸胶带密密麻麻的布满了单格厕所空间，来表示这个被说法弥漫半虚半实的存在。
具体到这次制作的Stop-motion定格动画，短短一分多钟需要绘制200张以上的数码图片以及搜索类别众多的声音匹配动作，难度还是有的。内容我主要选取了气球爆炸，来来回回循环往复的行走，浮游生物一般的怪物，电子音和信号灯，小学的一间公共厕所，鬼魂以及绘出的白噪。这些画面着重于意识表现，现代人喜欢用手机照片、录制视频等工具的眼睛来习惯性地思考眼前的景，被驯化的眼睛常常会落入一个非常实体的具象的阐述以及影像中，那么我的定格动画给出的是一种“此景非景”的状态，里面的很多事物有更大的隐喻以及牵扯。比如来来回回的脚步很大程度想讲我们局促犹豫地状态，整个视频都以一种快节奏进行，也呼应着害怕带来的紧张以及敏感。
