Artist Statement

My practice begins with a simple necessity: bringing my body to a site long enough to feel its realities.

My work often takes me to peripheral or marginal sites, whether I am collaborating with herders to stack four tons of ice in desert regions in northwest China, burning winter pasture grass shaped into ancient scripts, or walking barefoot through marble quarries in Carrara with a birdcage on my head. I move between different social and geographic contexts, using the body as a way of thinking about ecological transformation, cultural identity, and spatial conditions.

Transience runs through all of my creative work—materials like ice and fire, and performances that have their own internal clocks and refuse to wait for us. In an era dominated by technological acceleration and human centering, these slow, temporary interventions deliberately disrupt the logic of efficiency. They create brief public moments where strangers can share in the vulnerability of physical dissolution.

My creative work spans two scales: the nation-state and the Earth. The biggest challenge of the ecological crisis is how we can think on the scale of the Earth, rather than that of the nation-state. I hope to create and live with a more fluid mindset across different scales like local, national, and global, and to bring all things into museums, art spaces, and among the public through art.