Within the tides of global migration, I exist in a state of transience—never fully belonging, yet constantly adapting.

The hyper-regulated order of modern cities strips individuals of their agency over space, mirroring the marginality of the migrant experience: when space cannot be altered or truly possessed, the sense of belonging becomes unattainable. In my performance art, I employ acts of “destruction” and “reconstruction” as metaphors for the struggles of cultural nomads. This is both an inquiry into identity and a phenomenological experiment in transient empowerment.

Fingernails scraping against walls, Xuan paper torn and reassembled, ink bleeding uncontrollably into space—these actions simultaneously defy established structures and embody anxieties over the erasure of native cultures. Within the hyper-integrated machinery of civilization, destruction becomes the most honest form of construction. Torn Xuan paper generates new fiber at its fractures, symbolizing the resilience of cultural identity forged through rupture. Ink, even after being erased, leaves traces—affirming that every transient intervention inscribes itself onto space and memory. This five-day performance ultimately transforms the exhibition site into a testament to the migrant experience—an impermanent yet continually rewritten locus of belonging.

在全球化移民浪潮的裹挟下，我始终处于一种“临时状态”——未曾完全归属，却又不断适应。

现代城市的高度秩序剥夺了个体对空间的干预权，映射出移民的边缘化处境：当空间无法被改变或真正掌控，归属感便无从谈起。 在我的行为艺术实践中，我以“破坏”与“重建”作为隐喻，揭示文化游民在寻找归属中的挣扎。这不仅是对身份的探寻，更是一场关于“短暂性赋权”（transient empowerment）的实验。

指甲划破墙面、宣纸撕裂再重组、墨迹在空间中无序扩散——这些行为既是对既定规则的挑战，也承载着对本土文化流失的焦虑。在高度整合的文明体系之内，破坏反而成为最真实的建设。 撕裂的宣纸在断裂处生出新纤维，象征文化身份如何在创伤中生长并强化韧性；被清理后的墨迹依然留下痕迹，揭示任何临时性的介入都将在空间与记忆中留存。这场持续五天的行为表演，使展览空间成为移民经验的见证，一个流动的、不断被书写的临时归属之地。