Because I launched my career by publishing woodblock prints in Yunnan, a rural mountainous region close to Tibet, the self-appointed nature of my practice entailed investigations on locations, productivity, and expertise both inside and outside a conventional making space. As a result, an attempt to re-frame “labor” informs my current practice: I am interested in the speed of artistic creation in terms of the expansion of concept and the engagement with time. More precisely, I examine and activate idiosyncratic parameters of art-making, advocating for the instability of my body as I incorporate movements in my drawings, the atypical sites of creation as I dry vegetable-tanned leather al fresco, and the insignificant yet irreplaceable devices like push-pins as I diversify their functions for my structures. Additionally, I ground my work within fluid interpretations of artist responsibilities and risks, prioritizing less on rigid truth and packaged identity than time- and location-specific pursuit of freedom.

I am also interested in situating my practice globally as a Chinese artist in the United States. Recent artistic and scholarly projects examine the Shanghai Biennale in 2000, for example, the first international art showcase in a state-sponsored Chinese museum as both history and the present tense. My creation of paintings and drawings specifically highlight how I as a Chinese artist analyze this opening episode of Chinese contemporary art and its potential ramifications merely 20+ years later. Another research project I currently pursue, which is printmaking-specific, relates to the international programs of Crown Point Press in the 1980s. As American artists such as Sol LeWitt, Sylvia Plimack Mangold, and Pat Steir produced woodblock prints with printers in China and Japan, I could not stop contemplating the juxtaposition of “America” and “elsewhere.” Although both stints folded in the beginning of 1990s, I wonder how I can unpack this history not only in the U.S.-American context but also for the purpose of enriching Chinese and Japanese art history. In 2019, I traveled as an artist to Crown Point Press in San Francisco and MI-LAB in Kawaguchi-ko, the Japanese foundation which served as an extension of Crown Point Press’s legacy. Witnessing so much history was truly eye-opening and inviting. I am fascinated by the depth of archive and hope to offer my engagement through art- and exhibition-making in the near future.

宁为太平狗, 莫做离乱人;
轻风不识字, 何必乱翻书.