I grew up in Ordos, Inner Mongolia, watching grasslands slowly turn yellow and then bare. This early experience shaped my awareness of the fragile relationships between bodies, environments, and systems of survival.

After fifteen years of training in traditional Chinese landscape painting, I began to question the idea of landscape as a distant image of harmony and permanence. For me, landscape is not only nature - it is also the social, political, and institutional terrain that shapes how we move, belong, and exist.

Working across performance, painting, moving image, and installation, I use the body as a site where instinct, memory, culture, and social structures converge. My practice often involves acts of transformation, erosion, repetition, and displacement. Through materials such as ink, handmade paper, medicinal herbs, industrial residue, and found objects, I explore how identities are continuously constructed, disrupted, and reconfigured.

Questions of belonging, adaptation, mobility, and becoming run throughout my work. Rather than understanding identity as fixed, I approach it as a fluid process shaped by movement between places, cultures, languages, and systems. Much of my practice emerges from the experience of inhabiting in-between states, neither fully inside nor entirely outside.

Through both intimate gestures and large-scale interventions, I create situations in which bodies, materials, and environments negotiate with one another. I am interested in the tensions between instinct and social order, permanence and impermanence, visibility and disappearance.

My work does not seek stable conclusions. Instead, it examines how we continue to transform while moving through uncertain landscapes, and how belonging might be reimagined as an ongoing process of becoming.