I am a performance artist-researcher whose practice engagesfiction, bio-mythological inquiries, digital technology and philosophicalpractice of becoming with performance.
As Chinese translocal body, I consider myself as a mechanicwith a multiplicity of desires that come to be in responding to the desire tofeel belongingness. I see art-making as a way to produce subjectivity, aby-product of the desire to feel belongingness, which is driven by the desireto settle. As the border of what is thesubject self is washed away in this process of becoming, a new way of being isconjured in a form of multiplicity that requires the subject self to live inbetween the fractures of non-linear narrative of becoming under the cast offiction.
I use performance as a process-oriented methodology to carry out experiments that challenge the limit of subjectivity. My current interest is to investigate the production of a multiplicity of the self and the intersectionality of subjectivities in a perpetual process of becoming using practice as research in performance. The site of this challenge is the body. My role as an artist/researcher is empowered with the agency to “render” the reality, to transform the body from one interface into another site of possibilities, and to trace the representation of the body in performance. I see performance as a form of language that paves a pathway for the body move through the field of immanence. I use role-playing to embody and produce new subjectivities in spaces where the subject self performs the process of becoming.
I consider myself a ‘heteronymic machine’ that share strong resonances with Gilles Deleuze and Felix Guattari’s ‘schizo-analysis’ (Deleuze & Guattari, 1987), Rosi Bradotti’s proposition of ‘difference machine’ (Braidotti, 2011), and Fernando Pessoa’s rhizomatic creative process that takes on approximately eighty heteronyms (Pessoa F. , 1991).