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）
Uprise limewood, silicone, red crystal, pearl 90 ×98 ×87 cm，2021
Uprise draws inspiration from the religious festival of Thesmophoria celebrated by women in ancient Greece. Every year, in late autumn, the women of ancient Greek city-states stay together in caves on the outskirts of the city for three days and three nights. On the first day of the festival, which is called anodos, meaning “uprising,” they would dig up the rotten remains of piglets buried in pits the previous year. On the second day, they would mix dirt and seeds together, keep silent during the day, and begin to chant and dance at sunset. On the third day the women each received a portion of the carrion mixture and plant the sacred seeds in their own fields.
I was fascinated by the contrast between the power of “death” represented by the rotten flesh and the restraint and reverence assigned to “life.” In this ritual, women use their bodies, actions and symbols of objects to relay their perception of nature from their physical experience, using “death” to feed and sacrifice to the earth, and thus praying for a better “life.”