“Sumei” was the name of my maternal grandmother, born in 1928 and departed in 2010. Owing to a taciturn disposition among the senior members of my family, the details surrounding her remained elusive until the occasion of her cremation, revealing to me for the first time the veritable constituting her true name.

What prompts me to delve deeper into my grandmother’s life?

In the intersection of my life with my grandmother, I once felt a void in not knowing her lucid self. However, as I embarked on the extensive journey of exploring our family history since 2022, conducting interviews with those who knew her in clarity, tracing her footsteps, and discovering the fragments she left behind on this earth, I realized that conversing with her directly was unnecessary; I had already known her. Be it in her lucidity or madness, she wholeheartedly provided nurturing love and protection to our family.

I aspire to document the life of this woman, for within her, I see my past, my future—a flesh-and-blood human navigating the challenges and oppressions of society, wounded by her own sensitivity and resilience, resisting societal norms until her mental structure collapsed. She remained indomitable; her defiance leading to the fragmentation of her psyche. In that era, those who “survived” either chose to forget the past or to numb themselves, moving onto the next speculative game.

The documentation of this process holds significance not just for me or my family but, through a feminine perspective, delving into history unveils a narrative starkly different from grand historical accounts—a narrative more authentic, reflecting the depths of humanity.

I feel the need to revisit the life journey of this woman repeatedly, as these experiences provide me with more points of reference. Through these references, I gain a clearer understanding of my origins and potential destinations—a decision that rests solely with me, not dictated by male elders or partners.







The birth chart of Sumei : Acrylic, Mixed media on wall, 3*3(m)
Sumei : Acrylic, pencil, charcoal, wall painting, 20*3(m)
Untitled(Portrait of Sumei) : capsules, wooden balls, dimensions variable
《无题(外婆的肖像)》Untitled (Portrait of Sumei):空胶囊,木球,尺寸可变
Waves,Soliloquy : video 14:02 , dimensions variable
《海,自言自语》:影像14:02  尺寸可变

This project (Inner Symbol) is an objectification of self-exploration into mood swings during self-quarantine, with reflection particularly on women’s social status, as well as dynamics between social norms and the physiological instinct as women. Not only a product of self-reflexivity and self-inquiry, this is also an examination into the predicament of women.

This project aims at attracting more social attention on feminist arts within East Asian context. Meanwhile, self-caring and positive attitudes are encouraged through this project among more women, especially girls undergoing the phase of value formation, in the face of gender conundrum.



By Awareness with the series of works centered on bodily perceptions, I aim to sculpt and depict abstract expressions of bodily experiences and inner perceptions. This process involves transitioning from conversing with the world to engaging in introspective dialogue, shifting the focus from external to internal scrutiny of my own body and emotions. Through the most direct documentation of my personal experiences and bodily sensations, I seek to externalize my emotions and feelings, transforming the most intimate aspects of “self” into a public, universal narrative. While painting serves as my tool, it is the internal experiences that act as my creative medium. In the process of creation, all contemplations and tangled imageries metamorphose into rhythms, ultimately transforming into visual images.


This series embodies a tangible endeavor of abstract expression representing my personal aesthetics and inner perceptions. Within these everyday emotional fragments and introspective dialogues, I seek to extract a visual symbol originating from within myself, reinterpreting it on canvas through the fusion of color and light.


During the creative process, I spend extended periods  waiting for the entrance of my emotions. When the entrance appears, I delve into the depths of my subconscious, while my self emerges to observe this abyss and record fleeting imageries. Capturing these imageries requires swiftly transforming the fragmented memories of these imageries into visual forms. It is a moment of instantaneous decision-making where victory or defeat hinges on swift action. If the opportunity passes, I regress into a numb state of suppressed subconsciousness, reverting back to the preparatory phase of squatting, a routine devoid of expressive desires and quite disheartening. In my art-making, I strive to eliminate any possibility of nitpicking, returning painting to the most direct process of reaction-observation-action. Through this process, I unlock myself, break free from constraints, and rediscover the most authentic essence of myself in that fleeting moment.


Describing landscapes is my attempt to transpose my inner experiences onto the real world. During this time, I have painted numerous mountains and seas, with a particular fondness for the imagery of islands. The works from this series have subsequently been featured in the cover designs of books centered around island themes.