In recent years, Sun Yukun has focused his content vehicle on various ceramic figures and scenes of ancient history, including but not limited to refining, cutting, extracting, and amplifying them. Through his unique creative techniques and aesthetic theories, Sun has continuously explored and broken through the intricate balance between the hardness and fragility of material nature.

Delivering the narrative tension between dynamic and static has always been one of Sun Yukun's creative motivations. In the layout of a specific scene, through his capture and construction of light and shadow, the juxtaposed dialogue between “portraits” related to modern life and “portraits” from art history, static objects are endowed with body gestures and expressions, revealing intriguing emotions through movement. Under his artistic language, the three-dimensionality of the objects on the frame blurs the boundary between the canvas and reality, allowing the viewer to capture its mysterious connotation as if admiring a real sculpture. 

Through the years of practice in the field of public art, Sun Yukun coincides with the important medium of street graffiti art. The rough texture of aerosol is applied to the canvas delicately almost to the highest level. The technique of color dot matrix can render and distinguish a sense of hazy look which is different from traditional easel painting. For example, in a series of works such as "Man in the Mirror" and "Long Island and Black 8", creating a damaged texture onto the canvas to mimic the rough production and film corrosion of "grindhouse movies", it deliberately creates a sense of contrast and destruction with the smooth surface of the porcelain. At the same time, the material character of the aerosol coarse powder is being used to de-"still life" the painted objects, further enhancing the cult interest, and making the painting content extremely conflicting and dramatic.

While continuing the previous creative direction, Sun Yukun combines its narrative content with it to reveal the most instinctive nature of the human soul. just like when Fortuna the goddess of destiny of Carmina Burana looks back at the last carnival moment of mankind. The momentary emotion of being isolated like an island also hints at an interesting phenomenon caused by the above-mentioned voyeuristic effect similar to the movie dark angle lens formed by the viewer - These ceramics are like mirrors of the wheels of history, projecting the inevitable for everyone in every period.