Mama Will Catch You, Cradle and All
2022
We can only communicate with each othe with the help of media, but what information do you think you send and received when you think you are communicating with others? I made a virtual tour to Hong Kong for my mother when travelling crossing the border is impossible, with the reversed audio recording of a conversation between my mother and me as voice-over.
Exhibition View
Close,, Janurary 2022
Guests from the South
2022
Due to the pandemic of covid-19, strict policies have been adopted for people who want to cross the border between Hong Kong and mainland China, which makes our life even more complicated after the prevailing social movement in 2019.
Living in Hong Kong, I have not met my family who live in mainland China since 2020.I asked my mother to pick up a bauhinia* leaf from the southern Chinese city where she lives in and send it to Hong Kong.
This work consists of an image of my mother’s palm, an image of my hand, an image of a bauhinia leaf found in Hong kong, and a bauhinia leaf my mother sent to me through express delivery service.
*Bauhinia, the symbol of Hong Kong, is actually a plant commonly seen in Southern China.
Repetition Maximum
2021
“Repetition maximum” (RM) is a concept in weight training, referring to the most weight you can lift for a defined number of exercise movements. The performance links up the parallel exhibitions “Too Good to Be True” and “Till Love Do Us Part”, which both tackles the relationship between queerness and social environments. During the performance, audience were invited to walk with the artist from one exhibition venue in Shek Kip Mei to the other in Tai Kok Tsui. Along the walk, the artist turned his artificial body and the metropolitan surroundings into a big canvas, as in such way he expresses as well as confronts the power hidden beneath the action of image manipulation.
「最大重複次數」（RM）是一個健身中常用的概念，所指要求做某個動作能夠做到特定次數的情況下，此時舉重員能承受最大的重量是什麼。是次表演將同時進行的展覽「盡善盡美」和「直至愛使我們分離」聯結，也與兩個展覽中所展現的酷兒性（queerness）和社會環境之關係一脈相承。表演過程中，觀眾可跟隨藝術家從位於石硤尾的展覽空間步行至大角咀的展覽空間。途中，藝術家把自己的人造身體和都市空間轉換成一張巨大的畫布，他的塗畫動作既抒發也對抗著隱藏在圖像改造過程中的權力。
The Intouchable
2021
Selfie sticks and accessories build up an organic structure that seemingly interconncts but rather isolates, whereas images of hand gesture extracted from profile pictures on gay dating apps indicate “a touch and yet not a touch”.
Too Good to Be True
2021- (Ongoing)
Trained with profile pictures collected from gay dating apps, artificial intelligence (AI) generates a series of images, which compose the main content of the exhibition.
The similarity of the images implies people’s perception and desirous pursuing of bodily perfection through social media. The distortions, due to the interference from machine learning (ML) metaphorize the morbidity of it.
The “collaboration” between the artist and the machine, not only questions the ways of the image production, asking “what is photography”, but also simulates how images are produced, stored, chosen, and reproduced in the process of online dating. Nearly a case study of modern online dating, it shows how the notion of beauty has shaped our social behaviours thus influencing our self-cognition.
Excessively Perfect
2019
Now that the Internet occupies the most part of the real life, and the on-line image invades your real image, we are crazily devoting our time and energy, as well as…love. On gay men dating app Grindr, how do people present themselves? What kind of relationships do they want? Stepping out of this virtual reality built up with images, which direction are they heading to?
Do You Know Where the Birds Are?
2017- (Ongoing)
Located in the bustling area of Tsim Sha Tsui, Kowloon Park is secretly known as a cruising spot for gay men wander who look for casual sex. The project observes Kowloon Park as a public space for recreation, as well as a ‘stereotopia’ – a place for a marginalised group to escape from social norms.
Award
Finalist, WMA Masters 2019/2020 “Light”
Exhibition View
Light, September 2021
We Shall Be One
2021
A 2-channel video installation, the work tries to address the tension between limited freedom of individuals and the almighty power of the authority, by imagining and depicting the intimacy in the time of post pandemic.
Award
Finalist, Hong Kong Human Rights Art Prize 2021
Exhibition view
Featherly Fingers, Candy Claws, March 2021
Where Shall We Meet Tonight?
2018
In collaboration with Claudio RAINOLTER, Jingying ZHANG and Sijia LIU, during Transcultural Collaboration 2018.
In the time of global mobility, home is everywhere, yet where is the real home?
Maybe you could find the answer in this space that had only existed for one day and unceasingly traveled between the memory and the present, plus the virtual and the real.
Mush Room
2018
In collaboration with Claudio RAINOLTER, Diego KOHN, Jingying ZHANG and Wen-Chi LIU, during Transcultural Collaboration 2018.
Now that the Internet occupies the most part of the real life, and the on-line image invades your real image, we are crazily devoting our time and energy, as well as…love. On gay men dating app Grindr, how do people present themselves? What kind of relationships do they want? Stepping out of this virtual reality built up with images, which direction are they heading to?
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