這件作品由置於圓盤基座上的犀牛、騎在犀牛背上的人類，以及雲朵形狀的頭部所構成。犀牛的身軀是用冶煉金屬的爐渣所製成，頭部則覆滿青花瓷珠。創作者顯然刻意結合異質材料。在犀牛背上的人類，其膝關節是機械零件，而身體的核心部分是朝鮮白瓷，並環繞著青花瓷珠，構成這具奇異身體的材料則是來自墜落的戰鬥機殘骸。人類手臂末端未見手指，而是長成如螞蟻的型態，肩膀上懸著一頭公牛。而原本應該是大腦的位置則被塑膠串珠構成的雲朵取代，雲朵的頂部則放置了一件神獸雕像。原是精密機械的戰鬥機殘骸與來自鋼鐵公司的廢料，使人重新思索文明的興衰，而人類與動物結合的超現實形態違反了雕塑的美學規範，解構了神話與現實、野蠻與文明、真與假之間的界限，將我們引入想像的世界。

This piece features a rhinoceros on a circular base, ridden by a human figure with a cloud-shaped head. The rhino's body is crafted from steel slag, a by-product of metal smelting, while its head is adorned with blue and white porcelain beads, exemplifying the artist's deliberate juxtaposition of disparate materials. The human rider's knee joints are mechanical, while the torso is fashioned from Korean white porcelain. The abdomen, made with white porcelain, is encircled by blue and white porcelain beads, and the figure's body incorporates debris from fallen fighter jets. The arms, devoid of fingers, evolve into ant-like forms, with a bull emerging from the shoulder. A cloud of plastic beads replaces the brain, topped by a mythical beast figurine.
The incorporation of fighter jet debris, once precise machinery, alongside industrial waste, prompts a reconsideration of civilisational cycles. The surreal hybrid of human and animal challenges sculptural aesthetic norms, blurring boundaries between myth and reality, barbarism and civilisation, truth and falsehood, ultimately guiding viewers into an imaginary realm.