Most of ZIWU’s artworks are produced in a style that discusses emotions, consciousness, fiction, and a sense of collective belonging, attributed to the artist's upbringing and experience. During the development of the production process, the artist sometimes places them in a separate framework rather than only personal experiences, responses, and reflections, rooted in stages of life that are inseparable from the shape of the artwork.
ZIWU's artworks contributed to creating a metaphor sequence of several layers, including their dual reality, spirituality, emptiness, and historical intertwining, together with discussions related to the political structure, self-identity, culture, and history. The discovery of possibilities in death, together with the visual creation, leads to a diversified understanding of renewal iterations, meanwhile discussing memory, family, and the era of time in the contemporary context.
The aim of this research into artistic style at this stage is to parse out the unique creations and to relate them to a broader social group through the paradigm of art. In the overall process of completing projects. At Goldsmiths, the artist was asked to begin her photographic studies by developing film and working in the darkroom, but also exploring the possibility of multi-disciplinary (sculpture, painting, printing) to find her work's profound possibilities and sustainability. Her reliance on the art of photography stems from its similar isolation to what she can look for: the image could represent eternity and mortality, a recreation of memory, a media from which the flow of time could be perceived in between. The audience's recreation and exploration of the period when viewing the photograph is aimed at recreating her work.
