My artwork encircles the notion of the residue and its appearance as a part of our day-to-day experiences. Alongside my experiences, I understand residue as the mnemonic and abandoned everyday objects. My art practice includes photography, video, performance and experimental pieces. I believe that imagery is the support of memories, left behind as a miniature1 of my intimacy life. The performative action with objects influences me in my photography and video by a cross-disciplinary practice. Simultaneously, these experimentations materialise my abstract ideas.
My photography work portrays many close friends who are drawn to my life, memories of
which have been archived in the format of a photo book and album. The intimate, sexual and
absurd elements irresistibly catch my eyes when I hold my camera. Reading Judith Butler’s
theory , I am aware of gender complexity and the limits of identification. Face-to-face
communicating with friends engages me in the understanding of polemical issues in a particular context. In my photo book, Segments, I documented my life in Columbus, Ohio, when I felt unsettled on my nomadic state since it was my fifth city in five years. These elected fragments in my photography mirrored who is close to me, and in a brief moment of time, become a part of my extended family. The work of Nan Goldin, therefore, enables me to realise the significance of domestic snaps and collective memories in photography practice4. In 2017 one of my close friends, Wang Yang began transitioning from female to male. I made a documentary film revealing the dilemma of transgender people in China through his transition experience. After I desperately hope that people can be engaged in gender identity and expression.
Performance practice reflects my awareness of photography as a medium in contemporary
art. In my performative action with abandoned objects, photography evidences my art
practice and the realism attributed to photography is used as a mean of self-expression. Enacting action helps me manifest self-disclosing in my work. The point of art being more of an activity rather than a product drawing from Bruce Nauman has an impact on my performance experimentation. When I was making the video, Washing Photos and collecting the Shower Water(2019), I photographed the residue on my chest, similarly process used in the earlier video, Squeezing and Wrapping. For instance, my photography, Be Buried, in which I was wearing the collected objects and waste on my body. I was washing my hair with tap water in the communal area in my performance work, Washing Me above the Well. As a consequence, the everyday objects interest me during investigations. The Mnemonic Paper, a mixed media work, includes my intimacy photography shreds since the disassembly of cardboard stimulated my intangible imagination of memories. I integrated the images shreds into the paper pulp using paper making techniques. This process re-assembled the subtle characteristics of memories.
All of performative actions and photography experimentations altered my understanding of how to engage myself in mix-media practice. As an art practitioner, I desperately hope my work could elicit challenges to societal convention from the individuals.