His paintings imagine flowers as anthropomorphic, depicting them in clusters or extensions of the human body, perhaps paying tribute to those brutalized after the Hundred Flowers Campaign. The single blossoms in pieces such as No. 27 (2012) are misshapen and bleed into one another, becoming one formless entity, a reflection of the disintegration of the individual. To create this suffused effect, Xiao Fan uses a thinning oil that lends acrylic paint the quality of watercolors. No. 6 (2012), which features a nude female with a bundle of flowers in place of a head, is a deceptively pretty painting that evokes themes of dehumanization. The muted hues and mannequin-like stance of the figure convey a meditative yet isolated sensibility.