1995 Born in Shantou, Guangzhou

2018 Graduated from Environmental Design at Guangzhou Academy of Fine Art with a bachelor’s degree

2021 Graduated from Contemporary Art Practice at Royal College of Art with a master’s degree

Currently works and lives in London, UK

Group exhibitions

2021

Community-focused Queer Chinese Art Festival 2021, Glass House Brick Lane, London, UK

2021 RCA MA Contemporary Art Practice Graduate Show, Cromwell Place, London, UK

Everything Forever online exhibition, Royal College of Art, London, UK

2020

302_Redirect online exhibiiton, Royal College of Art, London, UK

2020 Work in Progress exhibition, Royal College of Art, London, UK

2018

3^rd United Graduation Exhibition of Architecture and Environmental Art Design in Guangdong 2018, Redtory Art and Design Factory, Guangzhou, China

2018 BA Environmental Design Graduate Exhibition, Art Museum of Guangzhou Academy of Fine Art, Guangzhou, China

The architectural elements and the build environment are common in my practice. My work is often framed around the discussion about the feedback loop between human activity and our material surroundings. The hypothetical landscape provided by the spectacle is always full of sublime beauty, while at the same time conjuring contradicting emotions. How does a sense of belonging to a specific place arise?

In Yi-Fu Tuan’ s book Topophilia: A Study of Environmental Perceptions, Attitudes, and Values, he suggests that Topophilia is ‘the affective bond between people and place or setting’. The artwork comes from my strong sense of a stadium as a place.

Based on the experiments of transmutative qualities of matter, the artwork combines personal imagination of the afterlife with beliefs and practices in Chinese culture relating to death. Both the metaphysics of death and burial, as well as their ecological elements, are considered in the work. Especially in urban areas, the allocation of burial space and the limitations of the conventional disposal methods for bodies also reflect the imposition of the patterns of human life on land.

The video, Ground-What is destructive and what is productive, shows images of different labour processes in the form of ‘dialogue’, including a series of events: stacking, burning, sieving, touching, scattering ashes, firming down the soil and washing. The repeated events presented in a non-linear progression seem to have no beginning nor end - nothing, if not a certain consciousness of time and the ‘beauty’ of its irremediable loss.

A 30-metre-deep greenhouse cave at the stadium could house the seven or eight plates of the pitch, which would be removed in just a few minutes. In this work, the carefully cultivated grass, with ashes, is packaged as a commercial product and placed in this enclosed space, restricting access to all but specific ticket-holders. The relation between commodities supplants a personal relationship to the place. These vibrant materials have a constantly changing materiality - achieved by using agar and water mixed with soil, ashes, glycerin, charcoal and other residues from burning - combining the ingredients, and transmuting them into new forms of existence.