The Changbai Mountain region is home to many cultivation sites dedicated to jelly ear fungus. The fungi are grown on the stumps made from crushed wood shavings. The harvesting season involves the laborious work from the local ethnic Korean women pickers. In the autumn of 2022, the artist captured the essence of the fungus harvesting scene using black and white 16mm film. To protect themselves from the sun and mosquitoes, the workers are fully covered, silently toiling amidst the wafting smoke of mosquito coils. The artist's ongoing interest in the ethnic minority women laborers in border regions is reflected both in the Korean fungus pickers in this film and the Uyghur carpet weavers portrayed in The Silence of Hands . Although they inhabit different environments, both groups utilize their hands to manipulate natural materials sourced from living organisms, whether it's fungus or wool. Unlike the Uyghur women, the ethnic Korean fungus pickers conceal their faces behind scarves and maintain minimal communication among themselves. Through the use of black and white film, the artist emphasizes the repetitive nature of their labor as well as their silence.

长白山地区有着很多木耳种植园。木耳被种植在木材碎屑压制成的木桩上，收获季节由当地的朝鲜族女工采摘。2022 年秋天，艺术家用黑白16 毫米胶片拍摄了采摘现场。为了防晒和防蚊虫，女工全身包裹严实，在袅袅的蚊香中默默劳作。艺术家一贯关注边疆地区少数民族女性劳动者的日常状态。《采摘》中的朝鲜族女工和《手的沉默》中的维族地毯女工虽然身处不同的环境，但是都用双手来处理木耳和羊毛这两种从动植物身上采集的原料。与维族女工不同，木耳采摘工的脸藏在围巾后面，她们彼此之间也少有交流。艺术家使用黑白胶片拍摄意在突显女工劳作的重复性和她们的沉默。