ART BELIEF



There are the minute moments and events that are happening all around us, and through which subtle, tiny bridges are built, creating connections between the natural environment, human beings and the community. While people are advised to stay home during the coronavirus pandemic, our world has suddenly shrunk to the size of our homes. However, a house can be regarded as a miniature of our entire world, a safe place that protects us from an outbreak and where most of our daily routines take place: eating, reading, showering or sleeping. Aside from these repetitive actions, who or what constitutes the ‘otherness’, both living and non-living, which we knowingly or unknowingly share our homes with? While gathering materials such as food, organic waste and seeds, the artist gives shape and meaning to events that occur in her home life. The materials themselves are the main protagonists, revealing stories that enable us to catch a glimpse of an intimate world where humans and non-human beings live together.


For the project Things Happen In My House

NL, July 2020



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Research Document: "Freezing the Vanishing", 45 pages
Online reader, visit here
Cover image: A finding during the walk, Venice, 2019 

NL, June 2020


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The ‘Inherent Intimacy’ evolved from the foregoing exploration after returned to Hong Kong in 2014. Due to the influence of working on the fields of socially-engaged arts and urban farming, also inspired by Buddhism where I learnt the concept of serenity. I define that ‘serenity’ comes from a sense of solid security, an interdependent balance from a deep continuing stable connection (e.g. the indubitable relationship between mother and child). This fundamental Intimacy, as a root, can be seen from the Buddhist philosophy: ‘All the myriad things and creatures are speaking the Dharma (Universal truth).’ (Chi: ‘萬物皆是佛法的表達’), which constructs the relationality between oneself and the external world, such as interpersonal dynamics in modern society and urban spaces. 

NL, 2019


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  • The materials I obtain from nature, I should be able to give back to nature in any kind of tangible or intangible way;
  • If I want to share certain values or emotions, first I should recognise with or have been practicing them, such as non-violence, caring, vulnerability or accessibility;
  • During the experiment, embrace any failure;
  • Try to be less control, let the case grow;
  • Focusing and responding to small things — adjustment — showing big concepts;
  • To treat every process of art-making, and every part of life, as a coherent live performance;
  • Not to limit myself only in visual perspective, but through other sensations (i.e. eyes, ears, nose, tongue, body and intent. In Sanskrit: Āyatana.) 


NL, Dec 2018



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My preference for the topic ‘Language’ originates from my experience in Taiwan where I studied, also the first foreign country I felt belonged to. The country has a diversity of minor spoken languages, such as Formosan and Hakka. As a foreigner, I discerned that languages (used in instant communications) could either isolate or unify different groups of people. Furthermore, it could both foster doubts and enhance confidence with regard to personal identification with respective nations, by stirring up personal preference for the majority or the minority.

 ‘Storytelling’ has been another dimension I concentrate on due to the influence of other art forms such as film, animation, or theatre performance. Most of the time, the part of an art piece that fascinates me the most is the stories presented by the creator. It provides more breadth and depth for audience to read into rather than just pleasing or stimulating their senses. To me, storytelling is not only the flow of a series of still images but also a gentler narration that can be borne by any medium.

HK, 2018

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「……與『域外』相對的不是任何形式的中心點，而是某種『內在』或『裡面』（inside）的空間形式。」──路況＜虛無主義書簡＞

  當一切對外的連結丶信念與認知，都被徹底破壞丶否定，餘下軀殼以後，在「域外」這個空間，我被迫逃往「裡面」。矛盾地，因為往「裡面」挖掘愈深，卻愈渴望逃脫──逃往另一種「域外」。「……域外是所有思想運動的『極限』…一個不可思議的異質思想空間，多樣性丶開放性的欲望平面。」（引文同上）

因此，有一段時間，我變得時刻想要逃離，各種狀態丶環境丶制度，乃至人際間虛無的表面；卻又同時著迷於尋找，與人更深入的內在連繫，關係的幻化丶對立（矛盾）或融會等一切無常（或另一角度看：永恆）的狀態。

漸漸我感受到，自身藝術創作的傾向，從過去曾經片面的社會批判意識丶外在探索與功能性目的，漸漸愈趨於以個體（對比社會）情感丶內在剖白出發。（見動畫作品──手翻書: 關於我正在尋找一個出口(2011)，可視之為個人自畫像，此時期的最佳寫照。）

對比以上不變的是，創作在生命中之地位一如往常，它代替了我在言語及與人溝通中無法被表達的絕大部分。「…儘管一部藝術作品顯示主體性的特徵，但它自身本是客觀的；其目的是將感情的生命加以客觀化。」──蘇珊•朗格（Susanne K. Langer,1895-1985）

「藝術並非自我表現，而是情感的象徵化。」（引同同上）如同意識到，語言的宰制性，使其更渴望透過創作去徹底批判溝通這個監牢，以超越其有限。以達到創作的最終目的：尋找一個使心靈安定的不斷治療過程，一個完整的生命。

Taiwan, 2013