Each of his artworks is formed from the same bricolage of identity—the sum of stretcher, wood, and canvases painted, deconstructed, and constructed again. Images of basketball heroes become deities, which in turn become the scaffolding and skin of his painted sculptures, torn down and built back up with the same materials again and again, so that the elements that once existed as ornament are now integral to the identity and essence of each artwork itself. His works are impossible monuments to the unnecessary, yet beautiful feats of the human machine.
Recent solo and group exhibitions include: The Monkey on Horseback, Galeria Nicodim, Bucharest, Romania (2016); Parallel Times, Inna Art Space, Hangzhou, China (2017); Marie Montana, Beijing Commune, Beijing, China (2017); After Sunset, Galeria Luisa Wang, Paris, France (2018);The Post Southern Song Dynasty, an exhibition of works featuring the Martin Goya Business artist collective at the KWM artcenter in Beijing, China (2018).The collective is 41 Hangzhou based artists curated by Martin Goya Business, a Hangzhou collective platform initiated by Cheng Ran in 2017. It was the first presentation by the collective in Beijing as well as the largest group show of Hangzhou based artists in Beijing since 1979. It included over 80 art works using painting, sculpture, installation, video, performance and A.I by 41 artists who all work and live in Hangzhou. In 2019, Zhou Yilun participated in Ornament and Crime, Nicodim Gallery, Los Angeles (2019); Stuck Inside of Mobile with Memphis Blues Again, Beijing Commune (2019).