Snow Blindness
「 雪盲」
2025
dimension variable
novel: adhesive binding
video: single-channel video projection (Super-8 transferred to 2K, AI-generated sequences, color, sound, 19:24 min
installation: MDF, wood, paint, aluminium ballons, dry ice, 300*260*300 cm
Snow Blindness comprises a science fiction novel and a video installation of the same name, whose narrative scope expands from the global political issues in the novel to the planetary ideological realm incorporating cross-cultural elements in the video.
The novel is set in the near future, where humanity has lost its reproductive ability, a woman in Zurich decides to travel to an ancient China's mountain in search of a flower driven by her dreams, while Earth is undergoing a series of deployments related to Mars colonization.
TO READ THE NOVEL: https://drive.google.com/file/d/1k4PEVmEkJAtaWNjpRNNVybMnhLcyVPC5/view?usp=drive_link
The video installation features a spaceship resembling a house, with an artificial intelligence system floating in space, attempting to analyze human hair to uncover the causes of societal failure. al neutral state truly exist in a universally patriarchal society?
The Clivia Street
「 君子兰大街 」
2025
dimension variable
double-channel videos on monitors, recordings on audios, image on projector, plastic, PMMA, dried flowers in plastic, glass, film photography on paper, LED lights, maps, ice cubes, 3D-printed models, broken mirrors, alum on textile and iron wire, cross-stitch on cotton, baby crib
The Clivia Street is a fictional location that exists between a city map and a global map, where a funeral and a newborn celerfation are happening simultaneously in the same formality in a melting global world. It is made of the traumatic leftovers from personal history, family history, generational history.
君子兰 Clivia is the city flower, which carries long colonial history worldwide and triggers economic bubble in the city. It is placed on a rotating platform, a setup that often occurs during family reunions and festivals.
君子 The gentleman and 兰 the orchid have long been symbols of moral exemplars and universal ideals for the Chinese literati and Confucian culture, yet their origins and historical development have been the result of a process of gradual marginalization of women - generations of beliefs that have excluded them. Then is the concept of global citizen in my generation, does it exist?
Life grows out of a history of colonization by the Other, of self-injury, and as a translator within it, to translate is sometimes to betrayal: Is trans-cultural equality within reach?
Do not speak of the north and its sadness...
2024
analog film on Inova paper
a set of 54, 8*6.7*4 cm (8*6.2*5cm with package)
After the 2020 epidemic, I used collective traumatic memory as an entry point into my family and its city, a northern city with a complex recent colonial history and entanglement of natural resources, to visualize on film the ubiquitous ghosts of everyday life.
People here seems to follow such rules: Life and death are all staked on the gambling table. A set of playing cards becomes the photographic bearer of gambling, which is a way of life here; at the same time, it takes the form of what is considered to be paper money, a common ritual object in northern funerals.
The title is quoted from Anna Akhmatova's poetry Do not speak of the north and its sadness...
The Shell of Winter
「 我身上有一个不可战胜的冬天 」
2023 - ongoing
analog photography on Kodak 5219
After moving to Switzerland, I attempted to enter a historical context where the entanglement of trauma was even more complex in the Global North as a third-country citizen.
How the trauma left behind, transmitted, and inherited from national political interactions was exposed to an even more complicated and random arrangement of destinies.
What is cold, the limits of physical perception, the ecology of global warming, the crux of global politics? In the unpredictable randomness manifests another layer of reality and materiality.
The Snow's Shadow is Blue
「 雪的影子是蓝色的 」
2020 - 2022
size variable
photography on Tyger paper, wood, LED lights
Shaped by separation and reunion experiences, it is like large snowflakes falling when thinking of hometown. I also imagine my physical and spiritual homecoming is snowfall on this land.
Wandering In Light
「 逍遥游 」
2022
120*80cm
spray paint, acrylic, UV-reactive reversible polyester thread, 3M reflective silk with polyester thread, PC mirror sticker, cotton thread, cotton cloth, beeswax, indigo dye, glucose, calcium hydroxide, polyester thread with PE membrane on linen
private collection
The interactions with light is the symbol of imagination, such as the reflection and retroreflection of light, the UV reaction with ultraviolet ray, etc.
Special thanks to Ice Wong, Naiwen Chou, Johannes Dietschi, and ZHdK DFA for the photoraphy.
Exhibited in "World Peace" Tokyo Geidai Art Festival, Tokyo, Japan
Winter Auction 2023 ZHdK, Zurich, Switerland
All That She Carried
2023
size variable
spray paint on ballons, sewing, handwriting and Cyanotype of plants on fabrics
This work collaborates with Guoying GONG, my mother. Together we selected several poems by Chinese poetess Xiuhua YU and collaged them together. The collage poem is about the migration and trauma of women's lives.
Special thanks to Wenjun XIE for the photography.
Asymmetrical Synchronicity
「 溯洄从游 」
2019-2022
28*26*5 cm
Handmade book
In mother-daughter relationships, the embodied female experiences create a two-way umbilical cord. They need each other despite the different contexts, yet there exists the asymmetry of time, memories, and experiences.
Special thanks to ANan and Wenjun XIE for the photography.