In 24g02, Ren Han carves and erodes calcium silicate boards of varying dimensions through dry, physical actions such as sawing, chopping, and chiseling. The visual sources of the work originate from landscape photographs taken by tourists in Chengdu and circulated on social media—images that are endlessly reproduced and consumed. In this process, fleeting digital scenery is transformed into material fragments.

Each black-painted board appears like a fractured stele, recording the formation and disappearance of local landscapes in an age of image saturation. Depending on the architectural context, these fragments are either reassembled into larger constellations or presented individually, recalling ancient monuments. Through this site-responsive arrangement, the work creates a tension between monumentality, ruin, and contemporary visual experience.