Concepts in my works emerge through embodied engagement with materials. Over the years, the use of black ink and water-based mediums has become a 'clearing' that enable me to think about boundaries, agencies, and relationalities. I developed ‘pooling’, a painting method that emerged from my lived experiences of being a 'cloud'. Beyond the the obvious action of painting with large amounts of water, ink, and pigments on substrates  over extended periods, ‘pooling’ draws largely from traditional Chinese ink technique of (潑墨)[splashed ink], calligraphic brushwork, as well as  my observations of wetlands. These waterbodies fascinate me; they are never static, constantly shifting across surfaces over time, hosting myriads of living organisms. It is messy, wild, indeterminate, and chaotic. I am interested in how contingency, unpredictability and vulnerability become sites of encounters where the not-yet-articulated can find its place (concepts of ‘latent commons’ and ‘multispecies assemblages’ discussed by Tsing (2015).

My brushwork is mainly influenced by traditional scripts , techniques of (寫意) [writing ideas] and (工筆) [meticulous style], as well as by the experimental possibilities I have explored through the watercolour medium. With years of working with these two different types of mediums, each with distinct materiality, I  have combined and developed ways to communicate my ideas freely and authentically, seeking emergent knowledge in the interstices between multispecies and spaces where I find myself.