Installation, performance and moving image, and research on how machines read art. Since 2018 the work has circled one question: what happens to an image once it is handed to something that will change it.
Slips turn over as they pass. Click one to turn it back.Tap a slip to turn it over.
2016–2020BA, PaintingSchool of Experimental Art, Tianjin Academy of Fine Arts
2019–2022HonoursNational Scholarship for Postgraduates (2022); First-Class Academic Scholarship and Merit Student (2021–22); Second-Class Academic Scholarship (2020–21); Cai Jin Scholarship, School of Experimental Art (2019–20)
2020Academy Award, Tianjin Academy of Fine Artsfor the BA graduation works → works 06–07
2020Aixian Rivernight public screening, Aixian, Tianjin → work 05
2020–2023MFA, Experimental ArtSchool of Experimental Art, Tianjin Academy of Fine Arts
2022Repetition Without Meaning and Wind Chimesolo-credited, Tianjin Ciyiyuan
2022SelectedMoganshan National Youth Spatial Art Exhibition
2022ART100 Chronology 「年代物」published catalogue → work 02
2022Invited《起城转合》，洪德美术馆
2023MFA graduation work, Relations series → work 01
2024–PhD, Duncan of Jordanstone College of Art & Design, University of DundeeWorking title: Reading Chinese Art with Machines: What an Evaluation Can Claim → research
2026–VULCA — architect and maintaineropen-source Python SDK and MCP server → demos
2026–Academic Writing Toolkit — creator and maintaineropen source, v0.5.0 GitHub →
2026–Wishing-Willow and lintel — author → research
2026ReviewerACM Computing Surveys
2026–Doctoral Researcher RepresentativeSGSAH Modern Languages Catalyst
2026Co-designing the online workshopResponsible and Critical GenAI Use for Arts and Humanities Doctoral Students (December 2026)
2026–AcademiaOnepart-time academic tutor for practice-based PhD applicants
The images are transferred onto mirror-finish rippled steel, chosen for the metallic coldness of the electronic image itself. The ripple keeps any picture from settling: the surface returns the room, and the viewer, into every reading of it. From the statement, written in 2023: “As AI-generated painting arrives and images are produced in frenzied quantity, the future and essence of painting become all the more worth discussing.”
Columns that consume themselves as they stand. Shown twice, two years apart, in different rooms and different states of decay.
A treadmill runs against a timber railway sleeper. The machine built to go nowhere wears the wood away over the length of the exhibition. From its label: “the worn tree is a small thing, and the sadness is hidden inside it.”
Arcade games projected onto the closed roller shutters of a row of art-supply shops after the street had shut for the night. A public screen made of other people’s shopfronts, running thirty minutes, leaving nothing on the metal.
Clothes buttoned one to the next into a single chain, driven by a motor on a steel frame. From the statement (translated): “The individual is altered by an objective constant, and gradually merges from individual into whole. In the process it is changed for good, as the clothes in the work tear, crease and lose their shape.”
Each motor swings a stick of charcoal round its own board and leaves its circle there. From the statement (translated): “Independent individuals in this society repeating a looping movement within a bounded range, while recording the small deviations that occur as they move.”
A closed irrigation loop in which the falling water level is the only readout of whether the plant is still alive. Shown here as the original visualisation; the work was never built.
Since 2024 I have been a doctoral candidate at Duncan of Jordanstone College of Art and Design, University of Dundee, taking apart the instruments that decide whether a machine has understood a painting: what a score from such an evaluation can be used to claim, and what it cannot. The papers come from that work; the demos are prototypes made alongside it.
Published
Accepted
Preprints
In development · installation · with Haitian Liu, Qiufeng Yi, Ziyue Yang
An installation for three screens and a table, about a fictional bedroom that visitors change by drawing on a print. Project page for the PACT Zollverein residencies, January–July 2027.
Prototype · capture planning and digitisation QC
In a simulated 48-light dome, the planner picks the next light and stops when the reconstruction stops changing, so less light reaches the object. Tested only on synthetic objects with injected defects; no real object has been imaged, and the light budget still has to come from a conservator.
Open-source SDK · image editing for agents
Splits a picture into semantic layers, lets an agent redraw one layer, and puts the picture back together. The loop shows six layers from one test image, added in order.
Wishing-Willow 许愿柳 shows what Claude thinks you asked next to what you actually said, and lintel draws it on the Mac notch. Wishing-Willow →lintel →