“Pine Forest” uses copper, iron and aluminum as the medium of creation, and at the same time “trims” the fixed meaning of traditional national mythological symbols by using Chinese paper-cutting, breaking their original mythological function and presenting a more diversified and open visual space, transforming symbols originally containing primitive power and collective memory into an artistic language in a contemporary aesthetic context. The symbols that originally contained primitive power and collective memory are transformed into artistic language in contemporary aesthetic context. In this process, the living material has been given a new narrative function, making the original folk culture symbols show new vitality. Art is no longer just a reproduction of tradition, but an exploration of the ever-changing relationship between man and nature, history and the present through the transformation of materials and symbols. This transformation is not a simple copy, but a process of “deconstruction and reorganization”. The transformation from traditional mythological symbols to symbols of daily life is a dynamic process from “stereotyping” to “mobility”, from “sacred authoritarianism” to “daily dialog”. It is a dynamic process from “stereotype” to “flow”, from “sacred authoritarianism” to “everyday dialog”. Artistic creation is no longer just a retelling of the past, but a re-exploration and redefinition of the boundaries between life and myth.