I am a sculptor, born in Chengdu and currently based in Hong Kong. As a self-taught sculptor, puppetry was the entry point that set me on this path and continues to be a constant source of nourishment for my practice. My work consistently focuses on the oppressed and disciplined body, which is reflected in my interest in the corresponding social systems, customs, and technologies of control. I believe this is related to my initial attraction to puppetry—an art form about design and control.

My process of making work often begins with autobiography and is combined with divergent research. My practice is process-oriented. Through labor-intensive, daily engagement with materials, I am fascinated by the metaphors inherent in sculptural forms and textures. My work explores themes of control and vulnerability, as well as harm and protection.


My recent solo exhibition, "Trust Fall" (2025) at MACA Art Center in Beijing, expressed the sense of displacement and unease about my identity after moving to Hong Kong, as well as a reflection on the underlying political order that shapes this perception. My other solo exhibitions include presentations at Capsule (Venice, 2024; Shanghai, 2021) and Cai Jin Space (Beijing, 2021). Significant group exhibitions include: "One Way Ashore, A Thousand Channels" (2024) at the Guangdong Times Museum; "Unlearning by Nature" (2023) at the Pan-Southeast Asia Triennial; and “Resonances of One Hundred Things" (2021) at the OCAT Biennale. My work has been honorably included in the Phaidon Press publication, Great Women Sculptors. My residency experience includes a 2025 residency with Pro Helvetia.

我是出生於成都、現居香港的雕塑家。作為一名自學的雕塑家，木偶藝術是我踏上這條道路的起因，也是不斷滋養我的源泉。我在創作中一直關注受壓制、規訓的身體，這體現在我對與之相應的社會制度、習俗與技術手段的興趣。我想這也和我一開始就被木偶學所吸引相關——木偶的核心便是關於設計與控制。


我的創作常常由個人經歷出發，並結合發散式的研究。我的藝術實踐是以過程為導向的。透過勞動密集的、與材料的日常相處，我著迷於雕塑型態和材質所具有的隱喻，並藉由作品展現控制與脆弱，以及傷害與保護。


我近期的個展是 2025 年在北京 MACA Art Center 舉辦的「信任墜落」，它表現的是我移居香港後對自我身分的錯位不安感，以及對塑造這種感知的潛在政治秩序的思考。我的其他個展包括：膠囊空間（威尼斯，2024；上海，2021）與蔡錦空間（北京，2021）。重要的群展包括：廣東時代美術館的「潮水有期」（2024）、泛東南亞三年展的「博物之知」（2023）以及 OCAT 雙年展的「百物之息」（2021）。我的作品榮幸地被收錄於 Phaidon Press 出版的《Great Women Sculptors》中。我的駐地經歷包括 2025 年在瑞士文化基金會的駐地項目。