Pillar of the Motherland

“Pillar of the Motherland” 2021, air-dry clay objects


I have been making these air-dry clay figures at home during the lockdown, they look like buildings, but they also look like spines of exhausted teenagers. They capture the teenage feeling of hollowness; feeling ashamed by the incompetence to absorb knowledge. My experience of being a teenager was like being violently injected by an incomprehensible amount of information while silencing the insatiable need to insert, to be inserted, to explode in the rawest physical way; yet being deeply frightened by the forbiddance and consequence of romance. 
I think about my teenage years in China, being young and powerless, being forced to sit and study, I felt my spine started to grow into crooked shapes, warped into the gigantic soup of repression.
Us, the not smart enough kids, we were made of caves, no one punched holes in us, we grew the forms of these reserved negative space inside of us: to be filled, to be refilled, to be sucked dry; then we no longer grow, we remain empty with many caves, stagnant, forgotten, unable to continue.











“Honeydoodoo” 2020, stop motion film with homemade objects.

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“Honeydoodoo” captures a lonely woman’s aimless day in a Dongbei (东北, North-eastern China) village house. During the day, time quietly freezes in between still moments. When the night falls, digital media such as TV and smartphone seduce her into cinematic lucid dreaming. Impregnated by her dreams, aborted as she wakes, she is abandoned in sobriety with familiar shapes/touches from another untraceable reality. 


   疫情在伦敦刚爆发时, 我居家隔离实在闲得慌, 就开始做手工, 一开始用竹签做了个比较抽象的竹船或是房子,像《东邪西毒》里张国荣住的那种江湖大侠茅草屋。后来做着做着开始想家,想念东北,想念盘锦姥爷家的大炕,所以我就特别想做个炕的模型。做完了炕,不过瘾,又用纸壳箱子做了一整个东北小平房的模型。然后慢慢添置家具:今天做个折叠饭桌, 明天做个大立柜,后儿再做个绿皮海尔冰箱, 看似漫无目的, 但是很充实。再后来觉得不能辜负了做的这些物件,所以就想着拍个电影。电影要有个主人公才有趣,所以捏了个泥人,捏完之后发现她长得好像染了奶奶灰的吴珊卓。最后决定用奶奶灰吴珊卓之躯展现一种浮生若梦的日常体验。主人公的日常吃喝拉屎、玩手机是无声的,好像日子过的无味时声音都干旱了,笨拙的定格画面更增添一种空间的凝固感。这种无味的生活在夜晚被梦境打破,右手将压抑已久的激情在梦境中慌慌张张的释放,可又在梦醒时分戛然而止,像是那被左手被塞在坛子里的小蛇,激情终将被腌制。梦醒了,一泡屎急拉尽了梦留给女人的信物;肚子空了又急着吃饭,就拿出了一串压箱底的蛇一样长的秘制腊肠。















Sex Lego

“Sex Lego” 2020, plaster, wood, silicone.


“The Sex Lego” was made in response to the sexual mobility of the human body; looking at bodies through the lens of dildos and prosthetics, questioning what is the body and what is not? If we see sex as an innocent act of playing, we can perceive our body or dildos as anatomical or artificial toys. If we see sex as an innocent act of playing, wouldn’t people who make love in a non-heterosexual/unconventional way be more acceptable in this world? The sex logo gives people the opportunity to think of sex and experience body through a playful and innocent perspective.






























Boob Rings

“Boob Rings” 2019, silicone objects.


baby teething toys in the shapes of many boobies.





















Industrial City Sex Dog

“Industrial City Sex Dog” 2019, performative installation.



The installation, “industrial city sex dog”, is a metaphorical tale about freedom and desire. It started from when my father asked me to make him a Buddha painting and hoped to teach me the pointlessness of (homosexual) desires. He disliked the bodhisattva painting I made as well as my gayness, therefore after studying the Diamond Sutra, I decide to make an empty lotus seat with my favourite female feature: legs.
The writing for industrial city sex dog is a symbolic conversation between my father and me; the installation is a temple with an empty buddha/god/saint/deity seat that celebrities all desire.