With a carving knife in hand, Shumu delicately etches the subtle movement of fur and the faint glow in a roe deer's eyes beneath the twilight onto a Tilia amurensis(皮木) wood panel. Centering her practice around wood panel carving, she continuously refines her technique, exploring compositional irregularity, monochromatic shading, and the application of color as part of her sculptural inquiries and experimentation.

The process begins with the artist directly cutting the wood panel and sanding it down to create an organic, non-uniform shape, guided by prior sketches and drawings. She then applies ink to the surface and seals it with melted wax before starting the carving process. The resulting irregular wood panel work embodies the artist's distinct perspective-one that reflects her perception and understanding of the world.

Shumu persistently seeks to break away from the anthropocentric perspective that separates and objectifies humans and nature, both within and beyond her practice. On her Tilia amurensis panels, the rational, human-centered perspective gradually dissolves. Instead, within the physical space of the Earth, the "self" merges with all other beings-existing momentarily, passing through instant moments as both a part and a whole.

The artist carves into the basswood (Tilia amurensis) woodblock with an engraving knife in his hand, capturing the slightest movement of the fur and the elk's hazy eyes in the dusk. Using the woodblock as the centerpiece of his work, he deepens his technique and continues to experiment with atypical compositions, monotone shading, and coloring. First, the artist cuts the woodblock by hand based on a preliminary sketch or drawing and rubs it with sandpaper to create an atypical shape. He then paints over it with ink, fills it with melted candles, and carves the shape with a knife after completing the underlying work. The artist's own worldview is deeply reflected in the finished atypical woodblock. It is the artist's way of looking at and perceiving the world.

Both in and out of his work, Shumu demonstrates a steadfast commitment to shedding the anthropocentric worldview that separates and objectifies humans from nature. Thus, on his pine plywood, the rationality-centered worldview that makes itself the measure of all things is gradually erased, and the "I" is unified as a part and whole in the physical space of the earth, sharing a fleeting moment with all other beings.