artist  statement
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I work with time-based/sculptural/multimedia installations, performance, diegetic prototypes, software, curation, and text as an inquiry into speculative mythscience, biotechnological processes, futurity, and intersubjective relations. Interweaving design fiction, organic-synthetic processes, and fictioning in dialogue with queer diasporic lifeworld and the technoscientific imaginary, my research and practice question and examine the artefacts of interspaces/non-places, and the entanglement of human/more-than-human agencies in continual processes of becoming and identity formation. Tracing the registers of harm and synergy on the body, and its Sisyphean cycles that entwine the (non)human, symbolic, and sacrificial, my work renders how the in-between in peripatetic contexts, and the exigent and political nature of risk could be potentialised to destabilise and transform intricate structures of the socio-cultural macrocosms we exist in.
   
As a third generation US immigrant from the Canton region and raised as a third culture individual to a certain extent, my practice is catalysed by a transnational upbringing across Seattle, Hong Kong, Shanghai, Detroit and London, an architectural family background, and conundrums reflective of collective issues around precarity, expatriation, displacement, violence, and agency. Various spaces are indexed and interpolated in my work — abject and surreal, transitory/perpetual, (im)material interspaces. In my recent research projects, the referenced occurrences have transformed in a quasi-alchemical process from the immaterial to material, from events to material evidence and vestiges, and from the real to the parafictionalised. Through enactments of thought experiments and varied forms of reasonings applied onto the real life propositions, the research and work recurrently lead to or become visceral speculative Catch-22 scenarios and solutions. Seemingly implausible and complicit with the structures of power that the processes attempt to revolt against, but oftentimes the only viable ones left, these outcomes implicitly echo their Kafkaesque premises and refract the lifeworld within the current strange, uncertain era, ruptured by signs of the coming cultural shifts.
  
My working process is research-based, generative progression materialised from rhythms of spatial encounters, cultural theories, and observations of phenomena. I work across the mediums and often take considerations at the arrival of any discernible form on the material plane, spanning and yet intercepting their mediated agencies. After periods of research oftentimes of an interdisciplinary nature, an exoskeleton of thought experiment(s) begins to take hold, built upon an internal framework of presuppositions, speculations, limit situations and non-sequiturs, leaving behind material and forensic vestiges of such framework to transpire and coalesce with one another in a constellational worlding/webbing of possibilities and narrativity. Collaborations across disciplines (with cryogenic scientists, biochemists, and computational architects, as in the recent research projects for instance) sometimes take place to further the interdisciplinary inquiry and actualisation of the thought experiment. A 'logically' sound framework is upheld as a principle (and to be potentially subverted), and yet by which frame of reference is contingent on the specificity of its subject matters.