We live in a time of existential crisis—the destruction of the earth, the massive loss of millions of species and potentially the end of our own species, brought about by the fragmented and failing systems that humans have created in the name of “progress.” My work is propelled by the urgent need to turn around these destructive and self-destructive patterns and reconnect with knowledge systems transmitted to us by our ancestors. My art practice draws on these two sources of power—strategies of decolonial aesthetics and restorative community-making that integrates story-making, energy arts, and sometimes fiber craft.
With Taiwan's 400 year-old story of colonization and occupation trailing behind me, I move through fuzzy borders, stitch by stitch, seed by seed, criss-crossing the seams between neighborhoods, bioregional edges, academic disciplines, nations and states, and culturally hybrid zones. My work evokes critical questions about why we live the way we do, why we choose to live where we live and how we can live together in mutual flourishing. The everyday rituals of hanging laundry, steaming bread, and sharing stories seed the soil of my creative practice. By any means necessary—whether with community performance or storytelling, video and/or installation art, crochet hook or knitting needles—I like to work at the peripheries, the dynamic, ever shifting edges of disturbance. Our collective future depends on our willingness to forge relationships across dualistic boundaries, to get down on hands and knees and be present to the common ground we share.