Experiments 






Mirror piece (After Joan Jonas)


Date: March, 2020

Medium: Performance(03:21)

Location: Vancouver, BC
This performance was a reinterpretation of Joan Jonas's "Reconfigured," uniquely adapted as a solo act, staged in the Main Mall of UBC campus in Vancouver. My dance, intimately entwined with a large mirror, was a central motif of the piece. Throughout my artistic journey, mirrors have held a captivating allure, serving as instruments that reveal, reflect, and often distort reality. This fascination speaks to a universal human inclination towards self-observation and a profound preoccupation with self-image.

As I navigated through the audience, the moving mirror sporadically allowed them glimpses of their own reflections. However, these were fleeting and fragmentary - mostly, the audience caught only partial views of themselves. By intensifying my movements, I aimed to create a sense of disruption, purposefully challenging the audience's narcissistic tendencies and their desire for self-contemplation. This dynamic interplay of movement and reflection sought to question and unsettle the conventional engagement with one's own image.




Embodiment: Bread piece

Date: January, 2020

Medium: Performance(04:09)

Location: Vancouver, BCBread carries profound symbolic significance within our culture. In my performance art, I employed bread as a medium for corporeal interaction, drawing upon its rich allegorical context. Within Christian theology, bread represents the corporeality of Christ. Conversely, in contemporary society, it increasingly embodies consumerism and material excess.

My performance commenced with the distribution of bread among the spectators, allowing them to partake as they observed my engagement with the bread. This act resonated with biblical symbolism—mirroring Christ's offering of his body (represented by bread) to his disciples. This gesture in my performance invited the audience to partake in the bread as they witnessed my interaction with it, symbolically ingesting my essence. This blurs the demarcation between 'object' and 'subject.' The audience, initially the subject, morphed into the 'object' upon consuming the bread, integrating the inanimate into their being.

This piece also represented a personal journey, reflecting my struggles with disordered eating. It was a commentary on my tumultuous relationship with food and its impact on my self-perception. Through this artistic expression, I sought to critique the pervasive idealization of thinness in our society, particularly as 
it pertains to female body image.
Conceptual video piece-After Marina Abramovic and Ulay 



Untitled 
Year: 2020

Medium: Video art(02:10)

This piece is a re-enactment video piece of performance artists Marina Abramovic and Ulay's Rest Energy(1980). The original piece was static--Ulay points the arrow to Marina's heart for the duration of 4 minutes. The original piece was about love and trust. But I edited the original clips, making it a back-and-forth, repetitive motion. 

With Ulay repetitively stretching the bow and pointing the arrow to Marina, the moments become uncanny and frustrating, and the meaning of "total and complete trust" has also shifted.