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Survival (I) (2021–2022) is a series of performance documentation created amidst the recurring COVID-19 lockdowns and strict containment measures in Mainland China. 

During this period of suspended social interaction, daily life was profoundly restructured. Through these recorded actions, the work investigates how individuals navigate confinement to maintain a sense of self. It explores the complex friction between external social constraints and the internal preservation of physical and mental well-being.

#VIDEO #PERFORMANCE #INTERVENTION 




Chord 

2021 

Single-channel video, color, sound 

00’52”
 Created against the backdrop of the pandemic, Chord captures a surreal moment of intrusion in a suspended world. 

Dressed in pajamas—the uniform of enforced domesticity during lockdown—I sneaked into a vacant luxury villa. In this silent, uninhabited shell of wealth, I laid my body across the keys of a grand piano. This act of "passive playing" triggers a massive, dissonant cluster of notes that echoes through the empty hall. The work blurs the boundary between private confinement and public space, presenting the artist as a sleepwalker wandering through the idle assets of a paralyzed society.



The Switch

2021 

Single-channel video, color, sound

Continuous Loop (0’40”)
 Created against the backdrop of the pandemic, The Switch is a loop of self-punishment disguised as a functional act. 

In a dim corridor, I use the sharp sound of slapping my own face to activate a voice-controlled light. As the timer expires and darkness returns, I am forced to repeat this violent gesture to restore illumination. The work externalizes the depressive psychological state of isolation, where the maintenance of "light"—or hope—comes at the cost of physical pain and repetitive self-injury.



Tugging

2022 

Archival pigment prints

Dimensions variable 

Co-created with Cao Wenqing, Wang Yizhu, She Luyun
 Set against the backdrop of a typically crowded tourist destination rendered desolate by the COVID-19 pandemic, Tugging records a playful intervention in a silent landscape. Along with three collaborators, I utilized a 50-meter-long roll of industrial caution tape not to cordon off space, but to connect bodies. The group manipulated the tape into large-scale geometric patterns reminiscent of "cat's cradle," a childhood string game. By repurposing the visual language of emergency and restriction into a tool for interaction, the work reclaims the empty public space with a gesture of intimacy and collective play.



Crowded

2022 

Archival pigment prints(digital composite) 

Dimensions variable 

Co-created with Cao Wenqing, Wang Yizhu, She Luyun
 Crowded serves as a visual counter-narrative to the isolation of the pandemic era. 

Created at a deserted tourist landmark, the work utilizes digital compositing techniques to multiply four collaborators into a dense throng of visitors. By layering multiple exposures of the same individuals, the artists constructed a fabricated spectacle of "normalcy." The resulting image presents a bustling scene that stands in stark, ironic contrast to the actual emptiness of the site, highlighting the silence that reality had imposed.

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