Sculpture/ hemp rope/ 3D printing/ 100*200cm/ 2022
This installation delves into the confrontation between craftsmanship and time. Through this piece, I illustrate the dissolution of individual agency in the face of inevitability. Throughout my learning journey, I have endeavored to salvage and safeguard numerous endangered crafts, yet ultimately succumbed to the inexorable march of history. A hemp-rope-woven egg is incessantly pulled by a metal winch below, each moment of the hemp rope being tugged showcasing my powerlessness and despair when confronted with the unavoidable outcome of disappearance.
Installation/ stainless steel/ fabric/ 500*500cm/ 2023
This installation focuses on the sacrifice of love. It is designed to reveal how love can diminish one's individuality. From my perspective, the splendor of love is but a fleeting illusion, under which lies despotism and violence. In light of this, I integrated the nature of such violence into my creative process to weave a transient love fantasy for the audience. What lies at the heart of this installation? The peak of love or the unveiling of violence? The answer is left for the audience to explore.
Zero-Degree Intimacy
Interactive installation/ 100*200cm/ 2024
This project combines interactive installations with performance art. I explore power structures in virtual relationships to discuss the concept of "symbolic power" that individuals hold. Participants engage with virtual emotions, seemingly in control on the surface yet manipulated by the system's design. Similarly, the audience appears to influence what I hear based on their presence or absence, but in reality, everything unfolds according to my predetermined framework.
Sculpture/lacquer/tile dust/ 30*50cm/2023–2024
This series of Chinese lacquer sculptures reflects the evolving dynamics between my mother and me, tracing the subtle shift within an intimate bond. Through these works, I express a newfound sense of tranquility—an emotional buffer that gently settles between myself and the outside world. My mother is no longer an adversarial figure but a place of quiet refuge. This transformation, though unspoken, quietly reshapes our emotional proximity and redefines what it means to be close.
To Measure Me
Sculpture/ lacquer/tile dust/100*100cm/2023–2024
To Measure Me originates from my memories and reflections on the bodily sensations of "expansion" and "contraction." These feelings were vivid and tangible in childhood, as if my body could infinitely extend or rapidly shrink in certain situations. As I grew older, these sensations were gradually obscured by the monotony of daily life until a reflection on the violence inherent in intimate relationships brought them back to the forefront. I found resonance in the philosopher Slavoj Žižek's theory of the subject as void, interpreting "expansion" as an exaggeration of self-power and "contraction" as an excessive concession to external forces. This unsettling alternation drove me to revisit spaces that had evoked these sensations, seeking to remeasure the true dimensions of my being.
The project takes the form of two lacquer paintings: one expresses the boundlessness of expansion, while the other captures the confines of contraction. Through the repetitive process of polishing and refining, my bodily memories engaged in a dialogue with these spaces, striving to navigate the contradictions and obscurities of perception. This personal exploration aims to uncover the complexities of individual subjectivity within power dynamics and redefine my identity's boundaries.
Festus Group project/ Sculpture/black clay/30*40cm
This work was developed as part of Towards the Dark, a Festus group project responding to the dark period leading up to the Winter Solstice — a time historically associated with inward turning, ritual, and renewal.
The sculpture consists of three small-scale ceramic forms made from black clay. Each form adopts an embracing, protective posture, encircling a broom handle — an ordinary object linked to domestic labour, maintenance, and repetition.
My practice repeatedly returns to protective and enclosing forms as a way of thinking through embodied care and emotional regulation. In the context of Towards the Dark, the gesture of holding becomes a response to seasonal darkness and vulnerability. The sculptures can be read as quiet, ritual-like forms that seek warmth, stability, and continuity as light diminishes.
The contrast between the bodily embrace and the rigidity of the broom handle introduces a tension between intimacy and function, softness and endurance. Working with black clay situates the work within the material and temporal conditions of winter, emphasising shadow, density, and reduced visibility.