"Home and belonging is a precarious state that is built, broken, and rebuilt in the landscapes we move through."

My practice obsessively inquires into what it means to belong. I am especially fascinated by landscapes shaped by migration and transformed by human presence. These landscapes are more than just scenery, but as a constructed condition: a site where time and a world shaped by forces beyond human intention collide and unsettle how reality is perceived.

After hiding behind traditional Chinese landscape painting and the shadows of it's master's for 15 years, I realised landscape is never a neutral container, but is charged with history, power dynamics, and a constant struggle for survival. Therefore, I reconceptualised the static nature idyll - Shanshui (山水) to one of movement and instability, where any sense of roots is always partial and in motion. Re-rooting is never a return to a lost origin; it is a rigorous practice of dismantling and remaking the self within volatile social and ecological structures. My work and process are shaped by the place itself, with my actions and materials coming together to construct heterotopias in which bodies, objects, and environments mutually shape one another, leaving intimate, unique traces.

My methodology is defined by rupture and erasure, allowing instability to become a generative force. Informed by the environmental exhaustion of the Inner Mongolian grasslands, where I grew up, my gestures of tearing, burning, washing, and scraping become more than stylistic effects; they transcend into a mode of analysis and discovery. I treat materials: carbon ink, handmade paper, medicinal herbs, animal remains, and industrial residues, as active collaborators that carry a life beyond the artwork, carrying histories of care, extraction, and decay.

Increasingly, my work interrogates the struggles of communication within systems of migration, how communication becomes a performance and ritual in its attempt to align with the institutional protocols that prioritise legibility while suppressing what remains untranslatable. This inquiry extends into my research on "bio-digital metabolism": the friction between technological obsolescence and biological persistence. By tracing how digital infrastructures and their residues reshape the natural world, I treat "waste" not as discard, but as an active agent within landscapes of constant transition.

Ultimately, Home is not a fixed destination; it is a precarious state haunted by the spectres of our roots, our erasure, and instability that we forever negotiate through translation, movement and metamorphosis of our Self.