Because I launched my career by publishing woodblock prints in Yunnan, a rural mountainous region close to Tibet, my identity as a self-appointed artist necessitated a desire to study my locations and critically engage. My fascination with productivity and expertise had opened multiple doors and guided me to unanticipated ways to combine discipline and freedom. As a result, a re-framing of the notion of “skill” informs my current practice: I am interested in the speed of artistic creation in terms of the expansion of concept and the engagement with time. More precisely, I aspire to unpack and challenge conditions of art-making, advocating the instability of my body as I incorporate movements in my drawings, the unconventional sites of creation as I dry vegetable-tanned leather al fresco, and the insignificant yet irreplaceable devices like push-pins as I diversify their functions for my sculpture. I am eager to call attention to a fluid re-imagination of expertise and artist responsibilities.

        Additionally, I envision how I can situate my practice globally as a Chinese artist in the United States. Recent artistic and scholarly projects examine the Shanghai Biennale in 2000, the first international art showcase in a state-sponsored Chinese museum as both history and the present tense. My creation of paintings and drawings specifically address how I as a Chinese artist interpret this opening episode of Chinese contemporary art and its ramifications merely 22 years later. Another printmaking-specific research project I currently pursue analyzes the international programs of Crown Point Press in the 1980s. As American artists such as Sol LeWitt, Sylvia Plimack Mangold, and Pat Steir traveled to China and Japan to produce woodblock prints with local master printers, I could not stop contemplating the juxtaposition of “America” and “elsewhere.” Although both stints folded in the beginning of 1990s, I wonder how such history can be scrutinized not only in the American context but also for the purpose of supplementing Chinese and Japanese art history. In 2019, I traveled as a resident artist to both Crown Point Press in San Francisco and the Japanese foundation in Kawaguchi-ko which served as an extension of Crown Point Press’s legacy. Witnessing so much history packed in a residential building was truly eye-opening and inviting. I am fascinated by the depth of archival materials and desire to offer my interpretation through art- and exhibition-making in the near future.

        Last but not least, I am increasingly drawn to the medium of artist book, and am curious how this ambiguous medium can be activated to pose difficult artistic and social questions. As my past conceptual artist book projects enter collections such as the Asia Art Archive in America, I imagine how international relevancy can continuously impact my future work.


宁为太平狗,莫作离乱人。#skill #speed