Zhanjiang’s work examines the dialogue between fate and reality, exploring something that is independent of our ego and governs the narrative we live out, which he describes as allegories of his "inner landscape" or "autobiographical portrait”. This series of drawings is a way of trying to understand who we are or how we operate in the world. He depicts alternative scenarios and realities as a means of simultaneously escaping and embracing the past. Zhanjiang draws elements from his childhood, adolescence, work, and experiences near his parents’ home in Inner Mongolia and translates these emotional events and fragmentations into figurative visual terms. This body of work echoes the tradition of European religious narrative painting. In the process, through his research into the art of classical antiquity and the Italian Renaissance, he has encountered the historical manifestations of beauty by mankind over many centuries that have powerful narrative attributes. Based on profound observation and exploration, he transports the viewer to a vivid imaginary world. 

Through multiple symbolic elements, he attempts to signify both surface beauty and the deeper meaning, through which allegorical symbols aid in depicting a highly theatrical moment frozen in time. As he notes that ‘the subjects he touched upon definitely came from a personal place, rendering an intimate self-reflection and examining the external, where personal histories were woven into the drawings’, but untethered by specifics of time, place or person, through meticulously organized chaos, he choreographed narratives on top of narratives. There is no sequence, no consequence, and no resolution. The narrative is deliberately left open to interpretation.