This series of works was created for the film The Last Emperor, which tells the story of the turbulent and tumultuous life of Pu Yi, the last emperor of the Qing Dynasty, and the fantasy, symbolism and conflict that the ubiquitous and vast shadow of the Qing Dynasty birthed throughout his life. All four works use yellow and black as the two main colors.

'Wanrong and Puyi gradually drifted away, Wanrong had walked out of the power fantasy of the Qing Dynasty, but Puyi still stayed in his own fantasy and did not wake up. The fog of fantasy enveloped him like a veil, and his face was blurred....'

As a young man, Pu Yi sat on the high palace walls, yearning for the outside world, like the most exquisite canary, not allowed to be free. Trapped again and again by the ubiquitous doors and walls.

Puyi set Qing Dynasty Emperor Aisinjueluo Puyi and Manchukuo puppet emperor Henry Puyi two identities in one.

Still using the emperor's hat representing imperial power as a symbol of power and emperor's status, the iconic glasses of Pu Yi are placed under the brim of the hat in the form of two circles, the cricket represents the testimony of the times when the tall building was first raised and eventually collapsed, and also foreshadows the fate of Pu Yi.

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