Because I initiated my career by making woodblock prints by hand in Yunnan, a rural mountainous region close to Tibet, my fascination with self-publishing works on paper necessitated a painstaking pursuit to balance art and craft. As I made my prints, the adherence to the autonomy of the artist attempting to be original and the nonjudgemental mentality of the craftsperson following strict printing procedures forced me to moderate my ego, and the artist and the craftsperson within me often collaborated to promote unanticipated ways to maximize freedom between polarities. As a result, visualization of such paradoxes continues to inform my recent practice: I am interested in well-conceived works which can be staged swiftly, and my subsequent questioning of active making reveals the palimpsest of artistic elements and charts the different stages and durations of my projects. More specifically, I aspire to unpack and challenge pre-conditions of art-making, advocating for the instability of my body as I incorporate movements in my drawings, the unconventional sites of creation as I rotate large scrolls in the snow, and the insignificant yet irreplaceable devices like push-pins as I diversify their functions for my sculpture. These intentional moments of self-scrutiny pave the way for a re-imagination of craft, which emphasizes its cultural and social dimensions apart from an artistic merit.