The “Rites of seasons" series delves into the artist's contemplation and research of pre-modern rituals and the seasonal ceremonies she experienced during her childhood. In this series, the artist perceives the body as a porous entity with ever-changing boundaries. She blurs the distinctions between humans and other living beings, inverting the internal and external aspects of the body to create sculptures that are both tense and subtly suggestive of desire.
Through the interpretation of myths and the imagination of materials, the artist seeks to portray the chaotic qualities that humans reveal during the liminal stages of rituals（These stages refer to the transitional time and space when individuals or groups undergo a shift from one social identity to another）
Blind Hunter limewood, silicone, epoxy resin, rubber tube, antler, smelling salts, flocking powder 98 x 85 x 70 cm
Image 1-2, Capsule Shanghai, 2021. photo courtesy: Lin Weizheng
Image 3, Cai Jin Space, 2021. photo courtesy: Mengcheng Zhang
Image 4-5, The First Trans-Southeast Asia Triennial research exhibition,2023.
In the 5th century BC, Hippocrates first introduced the term "hysteria" in his "Oath." He believed that the female uterus wandered throughout the body and needed to be reset using fragrances or medications. Plato also agreed with this viewpoint and added that women experienced anxiety and trembling due to the displacement of the uterus. The floating and shifting uterus is like an elusive prey in a dense forest. Throughout its long history, it has been patiently waiting to be lured, captured, trained, or hunted down. In this hunting game, I contemplate who the hunter is, who the conspirator is, within this work.