At a distance, Yun-Fei Ji’s rendering of the Yangtze River resembles a traditional ink painting from the Song dynasty (960–1279). However, upon closer inspection, images of contemporary life emerge. A crashed helicopter, abandoned cars, and an empty cart appear along the mountainside. Rural villagers carrying heavy baskets scramble up a rocky path, while on the opposite bank, figures in hazmat suits conduct tests on the river water.

Oversized creatures, including a grasshopper, a heron, and a water monster line the banks, dwarfing the nearby figures and vehicles. In combining these elements, Ji’s Bon Voyage comments on the detrimental impact of humanity on the natural world; the outcomes of pollution and industrialization on both humans and wildlife.
—Serena Hildebrandt ’20

在远处看, 季云飞对长江的描绘颇似宋代(960–1279)的传统水墨画。但是, 仔细观察, 就会发现当代生活的形象。一架坠毁的直升机, 多辆废弃的汽车和一个空的手推车出现在山腰上。提着沉甸甸篮子的村民们爬上一条山路, 而在河对岸, 身着防护服的人员在对河水进行测试

蚱蜢、苍鹭和水怪等超大生物排列于两岸, 衬得附近的人物和车辆格外矮小。结合这些元素, 季云飞的《一路顺风》评点了人类对自然世界, 以及污染与工业化对人类和野生动植物造成的影响。
—乔安娜

From the exhibition: Between the Mountains (January 25 – July 5, 2020)