I am a research-driven visual artist and cultural practitioner based in Guangzhou, China. My practice combines moving image, writing, and sculptural approaches to explore how identity, intimacy, and cultural values are continuously shaped and reconfigured within specific social and historical contexts.

Since 2020, orchids have become a central methodological and conceptual focus in my work. At the core is becoming orchid, an ongoing, practice-driven inquiry into fluid identities, queer ecology, and alternative forms of kinship and coexistence. Drawing on writing, observation, and speculative practices, this research investigates how subjectivity and relationality can be generatively reimagined beyond normative social and biological frameworks.

Orchid Pavilion (蘭亭無序), a long-term project initiated by me, serves as a situated research field informing becoming orchid. Rooted in contemporary China, it combines artistic research, cultural and conceptual translation, and community-based learning, providing a generative context from which specific conceptual threads are abstracted and further developed.

Recent research engages the Chinese ink orchid as a lens to revisit the aesthetics of the junzi (君子), the noble or exemplary “Gentleman” in Confucian thought, historically celebrated among male literati, and its gendered implications. This exploration extends my broader inquiry into how cultural ideals are embodied, naturalized, and contested, offering a generative reflection on identity, ethics, and relationality.

我是一名以研究為導向的視覺藝術家與文化實踐者，現居中國廣州。我的創作結合影像、寫作與雕塑等多種媒介，關注身分、親密關係與文化價值如何在具體的社會與歷史語境中不斷被塑造、重構與協商。

自2020年以來，蘭花逐漸成為我創作中的核心方法與概念線索。其中，「成為蘭」（becoming orchid）構成了一項持續展開、以實踐為基礎的研究，探討流動的身分、酷兒生態，以及替代性的親屬關係與共存方式。透過寫作、觀察與思辨性實踐，這一研究試圖突破規範化的社會與生物學框架，重新想像主體性與關係性的生成可能。

「蘭亭無序」（Orchid Pavilion）是我發起並持續推進的長期計畫，作為「成為蘭」的情境化研究場域。該計畫立足於當代中國，融合藝術研究、文化與概念的轉譯，以及基於社群的學習實踐，為相關概念線索的抽象、延展與深化提供了生成性的土壤。

近期的研究以中國水墨蘭花為切入點，重新審視儒家思想中「君子」的美學傳統。這一形象在歷史上由男性文人所推崇，並蘊含鮮明的性別意涵。此一方向延續了我對文化理想如何被身體化、自然化並遭遇質疑的長期關注，並由此展開對身分、倫理與關係性的進一步反思與想像。