WHEN YOU CONCEIVE ME (2023), interactional installation
《当你和我》是一个交互装置。装置的尖锥会随着朗读文本声音的变化而刺向覆盖在尖锥之上的猪皮，这部分指向了在自我在接收外在破碎的经验时，再一次被破坏，形成下一阶段的“自我”。因为“自我”是一种误认的功能，只有通过不断接受破碎与异化的真相才可能触及到“自体“。同时我还想传递：我们原以为用来沟通的桥梁，本质上是进一步分化的催化剂。简单来说，感同身受，其实是一种美好的期愿。现在的我再审阅过去的文本（形象）时，也已然是一名观众，是一个异化的形象。我通过在时间线上的优势，再度审视自己，经由不断地推演过去的事实来反射现在的位置。
The spikes of the device pierce the pigskin
covering the spikes in response to the sound of the text being read aloud,
pointing in part to the next stage of the 'ego' that is formed when it is once
again destroyed as it receives the experience of external fragmentation.
Because the 'ego' is a function of mis-recognition, it is only through the
constant acceptance of the truth of fragmentation and alienation that the
'self' can be reached. I also want to convey that the bridges we thought we
were using to communicate are essentially catalysts for further
differentiation. Simply put, empathy is a serendipity. When I now revisit the
past text (the image of ego), I am also an audience, an alienated image. I look
at myself again through the advantage of being on the timeline, reflecting the
present position by constantly projecting facts from the past.
Dragon Boat (2020), DVD
我制作了一套传统的AV光碟作为Dragon Boat (2020)的实体呈现。因为在我的研究过程中，发现在中文世界中，有着大量的校园暴力，出轨捉奸等以女性受凌辱受虐为主题的视频包可供出售。我将在类似平台以及个人社交媒体上发售Dragon Boat (2020)，作为一种隐秘的反抗。最终的收益已捐赠给爱德金基会的“无暴力的未来”项目，用于援助被施暴的妇女儿童。
I made a set of DVD
discs in classic AV style to present Dragon Boat (2020). There are a lot
of female abuse themed video packages featuring campus violence, cheating and adultery
catching available
for sale in China, in both digital and DVD format. I am about to sell Dragon
Boat (2020) on similar platforms and my personal social media as a revolt. The
final income were donated to The Amity Foundation's "A Future Without
Violence" project, which assists women and children who are victims of
violence.
Housewifization Wearable sculpture 2020 spring/summer collection Installation View, 01’33”
《主妇化可穿戴式雕塑 2020 春/夏系列》 是一本产品手册，介绍了本项目中的异化工具，每种工具都配有插图和使用场景图。工具的产品规格和广告用语讽刺地指出了女性在家庭中的艰难处境。这本书被放置在商场入口处的折扣书架上，模拟真实的购物场景。
Housewifization Wearable Sculpture: The
Manual (2020) is a product manual introduces the alienated tools presented in
this project, each with a illustration and a usage scenario diagram. The
product specifications of the tools alongside
their advertising terms ironically points out the hardship of women in
the family. The book is placed on a discount bookshelf at the mall entrance, simulating
the real shopping scene.
Right to Harm (2019) Installation View, 04’03”
我为Right To Harm制作了一个玩偶装置，作为影像之后的自我治愈仪式。裁剪、缝合和填充的过程实体化了整个事件，也包含了我的个人情感。
当观者坐在椅子上观看时，显而易见地成为了审问的角色；但当其坐到对面的玩偶座位时，又成为了被审问的对象，视频中的经历成为了观者必须体验的过程。玩偶座位的胸膛用于投影影像，椅背上缝合着垂地的四肢，坐上去之后会被柔软的材料和巨大的体量包裹。玩偶没有头，因为这件事具有普遍性，并且可能发生在我们任何一人身上。
当观者坐在椅子上观看时，显而易见地成为了审问的角色；但当其坐到对面的玩偶座位时，又成为了被审问的对象，视频中的经历成为了观者必须体验的过程。玩偶座位的胸膛用于投影影像，椅背上缝合着垂地的四肢，坐上去之后会被柔软的材料和巨大的体量包裹。玩偶没有头，因为这件事具有普遍性，并且可能发生在我们任何一人身上。
I made a doll for Right to Harm (2019) as a
self-healing ritual object after the video. The process of cropping, stitching,
and filling substantiates the
whole event and incorporates my personal emotions. In the installation, the
doll is combined with a chair of which the chest of the doll is replaced by the
back of the seat to project images on. The dying limbs in large scale are
stitched on the back of the chair which are then wrapped in soft material.
There is another empty chair placed opposite the doll. As the viewers sit in the
chair and watch, they clearly become the interrogator. But when they sit in the
opposite doll seat, they become someone under interrogation. Viewers must experience
as the event in the video as an insider rather than an observer. The headless
doll without a specific identity is a metaphor of the universality and
commonality of the event.
CCTV (24/7) (2019) Installation View, 02’53”
CCTV 24/7（2019）以3*3的九宫格模仿了监控的形式，通过在传统家庭画幅中的电视里循环播放，以重复和强制观看的方法，使得家庭妇女的形象成为观看空间内第一位的角色。昏暗的室内光，一个黑色的挂壁电视，这种压抑沉闷的氛围也是大多数中国传统家庭的标配，也正如传统家庭结构中家庭妇女角色的处境，长期隐形而压抑。
CCTV 24/7 (2019) adapted the form of the
surveillance monitor with a 3*3 9-box. The videos are played on a loop on a TV
that is commonly found in the household. By way of repeating and forced
watching, the housewife becomes the center though under the gaze of the viewers
Featuring dim indoor light and a black wall-mounted TV, the depressive
atmosphere is familiar for most traditional Chinese families. It also tells the
identity of housewives within traditional family structures, which is invariably invisible and oppressed.
Goddess Of
Mercy With A Thousand Arms（on going）is projected on a white bed sheet
hanging alongside a few clothes by the lake.
从湖边手洗到家中使用洗衣机，并没有让妇女从家务劳动中解放出来。相反，洗衣机提供的高效率迫使妇女将节省下来的时间用于提高家庭和工作效率。由于过渡到与世隔绝的家庭环境，在湖边洗衣的社会功能也被取消了。至此，家庭主妇在工作和社会环境中受到了双重约束。
Lakes are regulated streams. The transition from hand
washing by the lake to using washing machine at home did not free woman from
domestic labor. Rather, the efficiency provided by the washing machine
pressured women to use the saved time for productivity, both at home and at
work. The social function of washing by the lake has also been eliminated
through the transition to isolated domestic environment. In this way,
housewives are regulated in both work and social context.