Liu Silin creates through herself a character, Celine Liu, who traverses history, culture, politics, and identity, yet says that Celine Liu is in factnobody: Celine Liu can be anyone, while anyone can be Celine Liu. In this era of image overload, Celine Liu employs herself as a medium topush the boundaries between the real and the fictional, the mundane and the ritual, the private and the public, the individual and the universal, allowing the character of Celine Liu to be circulated and fermented in the virtual world of the Internet, as well as to be “consumed.”Thus, in “I’m everywhere,” she “falsifies history” by seamlessly inserting herself as Celine Liu into old photographs of celebrities, traveling inand out of major historical scenes, or chatting and laughing with them in private.In “Appme,“ she creates a series of hybrid self-portraits of Celine Liu by using a selfie app to place herself in a template of portraits, depicting people from various decades and identities of the 20th century. Meanwhile, she adds her own templates to the app, handingover Celine Liu to the audience in the pool of characters where the performance of the audience merges with Celine Liu’s image.In the “Siren” series, she travels through cities and villages looking for passersby who can lip-sync and imitate the sound of sirens with her. These people come from different corners of the world with different identities. They are not only people we rarely come into contact with in our everyday life, but also characters we cannot live without in reality.Through her self-constructed images, Liu Silin re-examines historical narratives and cultural memories, and reflects on the obsession with culturalicons and the value of commodity culture in the mass media environment. In her artistic practice, Liu Silin investigates and reinterprets the traditional social conventions of “image worship”; conventions that are constructed and shaped precisely by the mass media environment and our digital life.