Nomadic Play: Walking in Cosmos, Walking with Cosmos
（游牧游戏:散步于宇宙，散步与宇宙）
2024~presentUnnamed Symptom(2026)
- Breathing in rubber gloves on January 14, 2026; cold medicine package; traffic cone; children’s accessories; fur; badminton shuttlecock; stickers, etc.
- 500mm*350mm*500mm
Love Bugs Hat(2026)
I bite you, you bite me, the love bites us.
- Bug catcher, yarn crochet, cable ties, beads, rabbit toy, fabric, etc.
- Can be used by two people together, or be closed for easy carrying
- 250mm*250mm*250mm
Kill Me with Tenderness(2025)
- Toy gun, crocheted yarn, stickers, Christmas decorations.
- 165mm*225mm
- A piece created during a short-term workshop. In this activity, I went to Daiso with the participants to select items that attracted them, and then re-created the objects based on their stories about the objects.
Universe Exploration Balance Training Hat(2025)
- Fruit basket, bicycle bell, badminton shuttlecock, soccer equipment, cable ties, balance toys, balloons, yarn, stickers, Christmas decorations.etc.
- 200mm*200mm*400mm
- A piece created during a short-term workshop. In this activity, I went to Daiso with the participants to select items that attracted them, and then re-created the objects based on their stories about the objects.
Love Jump(2025)
- Jump rope, crochet work, beading, bells, cable ties
- 270 cm
If you feel sad, I will take you and jump together toward the sky, escaping the Earth and traveling to the tribes of the Neptunians. With a small velvet pouch, beneath a rain of diamonds, I will catch just one beautiful diamond for you—without greed. Holding your hand, making a ring that matches your discerning yet elegant taste. Then, we will never go back.
爱的跳跃：如果你感到难过，我就带你跳向天空，逃离地球，去往海王星人的部落。我用小小的天鹅绒的口袋，在钻石雨下，并不贪心地为你接住其中一颗，牵起你的手，为你做一枚符合你刁钻挑剔却优雅品味的戒指，然后，我们就不再回去了。
Walking with the Earth (2025)
- Discarded globe, crochet yarn, wheels, beads
- 300mm*300mm*450mm
Walking on the Earth and walking with the Earth.
Original
My Little Donkey 303
- Folding clothes drying rack, wrapping paper, cable tie, wig,
thread weaving, sesaonal flowers, dishcloth, rattle, cat teaser etc. - 1250mm*450mm*800mm(Variable Dimensions)
Self-weaving
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Clothes hangers, plastic tube toys, wheels, yarn weaving, wigs, shuttlecocks, screws, blanket etc.
-
1700mm*480mm*20mm
Flute Party
（It requires four people to kneel on the ground, gather together, and play the flute while moving around）- Toy flute, movable plant stand, shuttlecock, hair band, wool yarn.
-
280mm*280mm*280mm
Untitled(2025)
-Foldable clothes rack, shuttlecock, cable ties, snap buttons, bells, crochet with yarn
-500mm*500mm*2000mm(Variable Dimensions)
-Foldable clothes rack, shuttlecock, cable ties, snap buttons, bells, crochet with yarn
-500mm*500mm*2000mm(Variable Dimensions)
“游牧游戏：散步于宇宙，散步与宇宙”
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散步于宇宙：如果我们把整个宇宙作为自己的来源，那么也许，我们从未离开故乡半步。
散步与宇宙：宇宙本身也在不断变化，游移和游牧之中，即我们并非只身一人，而是与宇宙一同行进着，创造着。
01
《游牧游戏：散步于宇宙，散步与宇宙》是一组将日常迁移经验转化为"游牧游戏"的创作实践。在这次实践当中：我将迁移和漂泊视为一场持续进行的游牧游戏，整个宇宙作为自己的家和游乐场，正如上次搬家时搬家师傅对我说的：不是搬家，而是冒险； 将限制与匮乏视为游戏的规则，正如中文中"危机"一词，本身就包含着"危险"（危）与"机会"（机）两层意味。
作品源于我儿时以及海外生活期间频繁转学搬家的经历。签下租约的瞬间，空间的临时性似乎已被预设，潜意识中我知道，这里并不是我的家。似乎，某种不安感一直伴随着我，但我试图将目光从某个场所提供的安全感、从对过去的缅怀和对未来的期待，转移到此时此地的行动和日常物件上。在之前的房子里，我留意到马桶盖上前一位租客留下的Hello Kitty贴纸，还有鞋柜角落处如霉菌一般悄悄繁殖的小贴纸，似乎试图通过贴纸来标记领地，留下自己存在过的证据。作为孩子，我们几乎无法决定住在哪里、何时搬家；父母制定了规则与策略，而我们则如米歇尔·德·塞托所言，在这些规则之下进行着微小的抵抗，发展出属于自己的"战术"（某种程度上，我认为租客与房屋、艺术家与展览空间之间的关系也与此相似）。
我采取了一种游牧式的、因地制宜的创作方法，以步行可达的范围作为行动半径，仅使用当下在地可获得的材料，进行即兴组合与改造。我试图不预设作品的最终形态，不去控制作品的发展，而是任其自由生长，让身体、手的触觉跟随物体和材料的引领，并在这个过程中不断反思人与物之间刻板的主客体关系。事实上，很多时候我感觉并非我选择了这些物件，而是它们召唤我作出回应。这些材料大多来自街头、大创（Daiso）等大型连锁店、本地线上二手商品平台、以及角落里隐藏的中古商店——在这些地方的意外发现，其实比完成作品本身更让我兴奋。这些物件有的反映当下的流行趋势和当地的审美倾向；有的则来自过去，承载着前任主人不为人知的历史，它们的轨迹与我的路径交织，于此时此刻相遇。
这一过程中，限制和匮乏不再是阻碍，而成为了游戏的规则。无论是空间的可达性，还是材料的有限性和重复性，反而让我从过度自由带来的眩晕中解脱，形成一种具体而可感的自由。这次实践亦是对斯多葛控制二分法的践行，是对顺应、臣服的练习，以及对偶发和偶遇（不管是与物还是与人）的感恩和欣喜。实际上，偶然获得的物品日后可能售罄、停产；看似无用之物，也许会在未来的某一刻找到属于它的位置，也许永远不会；执念中的心爱之物可能会遗失或损坏——却又在某个时刻找到替代。在心中，我常常默念着《宁静祷文》，似乎它成为了这次游戏的通关密码:
请赐予我宁静,好让我能接受我无法改变的事情；
请赐予我勇气,好让我能改变我能去改变的事情；
请赐予我睿智,好让我能区别以上这两者的不同。
———莱因霍尔德·尼布尔（Reinhold Niebuhr）
最后,"游牧play"既是游戏（play），也是表演（play）与仪式。在进行这个系列作品时，我也在思考游戏、仪式、艺术和日常生活的联系，从日常生活而来的游戏和表演，及创作行为，也重新影响着日常生活的现实。
Nomadic Play: Walking in the Cosmos, Walking with Cosmos
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Walking in the Cosmos: If we regard the entire universe as our origin, perhaps we have never left home.
Walking with the Cosmos: The universe itself is in constant flux, migration, and nomadism—we are not alone, but moving and creating alongside the cosmos.
01
Nomadic Play: Walking in the Cosmos, Walking with Cosmos is a work that transforms everyday experiences of relocation into a "nomadic game." In this practice: I treat migration and displacement as an ongoing nomadic game, regarding the entire universe as both home and playground—as the moving helper once told me during a snowstorm: "This isn't a move, it's an adventure." I view limitations and scarcity as the rules of the game, much like the Chinese word "危机" (crisis), which inherently contains both "危" (danger) and "机" (opportunity).
This work originates from my frequent relocations and school transfers during childhood and while living abroad. The moment a lease is signed, the temporariness of the space seems already predetermined—subconsciously, I know this is not my home. A certain unease has always accompanied me, yet I try to shift my focus from the security a place provides, from nostalgia for the past and anxiety about the future, to actions in the here and now and to everyday objects. In a previous apartment, I noticed Hello Kitty stickers left by the former tenant on the toilet lid, and tiny stickers quietly proliferating like mold in the corners of the shoe cabinet, seemingly attempting to mark territory and leave evidence of their existence. As children, we rarely have a say in where we live or when we move; parents make the rules and strategies, while we, as Michel de Certeau suggests, develop our own "tactics" through small acts of resistance under these rules (to some extent, I believe the relationship between tenants and houses, artists and exhibition spaces, parallels this dynamic).
I adopted a nomadic, site-responsive creative method, defining my radius of action by what can be reached on foot, using only materials available locally in the moment for improvisational assemblage and transformation. I try not to predetermine the final form of the work or control its development, but rather let it grow freely, allowing my body and hands to follow the lead of objects and materials, constantly reflecting on the rigid subject-object relationship between humans and things. In fact, many times I feel it is not I who chose these objects, but rather they who summoned me to respond. These materials mostly come from the streets, large chain stores like Daiso, local online secondhand platforms, and hidden vintage shops tucked in corners—the unexpected discoveries in these places actually excite me more than completing the work itself. Some of these objects reflect current trends and local aesthetic preferences; others come from the past, carrying unknown histories of their previous owners. Their trajectories intersect with mine, meeting in this very moment.
In this process, limitation and scarcity are no longer obstacles but become the rules of the game. Whether it's spatial accessibility or the finitude and repetition of materials, these constraints liberate me from the dizziness of excessive freedom, forming a concrete and tangible freedom. This practice is also an exercise in Stoic dichotomy of control, a practice of adaptation and surrender, and gratitude and delight in the accidental and the encountered (whether with objects or people). In reality, items acquired by chance may later be sold out or discontinued; seemingly useless things may find their place at some future moment, or perhaps never will; beloved objects held dear may be lost or broken—yet at some divine timing, find their replacement. In my heart, I often recite the Serenity Prayer, which seems to have become the cheat code for this game:
God, grant me the serenity to accept the things I cannot change,
Courage to change the things I can,
And wisdom to know the difference.
—Reinhold Niebuhr
Finally, "nomadic play" is both game (play) and performance (play) and ritual. While working on this series, I have been contemplating the connections between game, ritual, art, and everyday life—how games and performances that emerge from daily life, and the act of creation itself, in turn reshape the reality of everyday life.
02
Danger and Opportunity, Destruction and Creation:
Frequent moves, school changes, and farewells during childhood; fire alarm sounds breaking the silence of solitary nights; and the collective trauma brought by the pandemic—whether personal or collective, a certain sense of crisis and unease has accompanied me, and ironically, unease itself has gradually become a settled daily state, part of my acquired nature. In my body, a certain secret nostalgia for disaster (Lachesism) coexists with an irrepressible desire to rebuild after catastrophe—just as in the final scene of Melancholia, before the "rogue planet" crashes into Earth, the protagonists build a shelter with branches for the child and call it the "magic cave." Even in such a moment, it seems people still try to create something. And in my ears, no matter when or where, the phrase "even so" seems to linger perpetually.
Some drawings about traveling around the world/universe (7 years old)