早从2006年开始我在法国美院的大学时期就在实践一种行为表演。在行为表演《囚》中，我用粉笔一圈一圈地画地为牢，直至蔓延到身上扭曲变形不能呼吸，用身体当作艺术创作的工具。那个时期作为在校大学生的年轻艺术创作者，我只是单纯地喜欢德国现代舞之母，“舞蹈剧场”的确立者皮娜鲍什Pina Bausch的现代舞，在一些早期并不十分高清的纪录片里惊鸿一瞥她披头赤足起舞,有时候又缓慢而重复地表现着残酷情绪以及某些场景。她找到的那种自然的动作表达或者可以说是任何一种动作都能成为舞蹈的表达，和我从小见到的被规划好的风格、路径、姿势、动作以及反复演练的情绪，那种传统意义上的舞蹈截然不同。她在波浪，树木，季节循环自然运动中找寻舞蹈灵感，她跨越美学的界线与艺术的藩篱，建立独树一帜的舞蹈新语言。她的主张更自由，更自我表达，从本质，历史，功能以及舞蹈的结构，或许是后现代艺术创作需要去探讨的问题。它创造一种具有现代智识的身体图像。或许能追溯到更早期的人类关于用肢体语言表达自我的一种方法。它是石器时期的人类围着火堆起舞影子投射到岩洞壁上的原始动画，也像舞蹈美学家塞尔玛 珍妮 科恩说“它是感人至深的，却不是具象性的。” 使我更想实验把身体作为艺术形式的媒介，把观念放进舞蹈中，用当代声光电语言来实验一种视觉艺术领域。正如苏珊桑格塔在《反对阐释》中”呼唤一种透明的艺术，不传达意义，而是启迪和打开经验的路径。“用于恢复我们的“感觉”。

As early as 2006, when I was in college at the French Academy of Fine Arts, I practiced a kind of performance. In the performance "Prisoners", I used chalk to draw circles and circles of the prison until it spread to my body and became distorted and unable to breathe, using my body as a tool for artistic creation. At that time, as a young artistic creator in college, I simply liked the modern dance of Pina Bausch, the mother of German modern dance and the founder of "dance Theater". In some early documentaries, which were not very high-definition, I caught a glimpse of her dancing with her head down and bare feet, sometimes slowly and repeatedly expressing cruel emotions and certain scenes. The kind of natural expression of movement that she found, or any kind of movement that could become the expression of dance, was very different from the traditional sense of dance that I had seen since childhood, with its planned style, path, posture, movement, and rehearsed emotions. She finds inspiration for dance in the natural movement of waves, trees and seasonal cycles. She crosses the boundaries of aesthetics and artistic barriers to establish a unique new language of dance. Her idea of more freedom and self-expression, from the essence, history, function and structure of dance, may be the issues that need to be explored in postmodern art creation. It creates an image of the body with modern intelligence. Perhaps it goes back to an earlier human way of expressing oneself with body language. It is a primitive animation of Stone Age humans dancing around fires and casting shadows on cave walls, and as dance esthetician Thelma Jenny Cohen says, "it is moving, but not figurative." It makes me want to experiment with the body as a medium of art form, put ideas into dance, and experiment a visual art field with contemporary sound and light language. As Susan Sangeta in Against Interpretation "calls for a transparent art that does not convey meaning, but rather enlightening and opens the path of experience." "To restore our 'senses'.

2015年和2016年我分别在上海艺术门画廊和美国布罗德美术馆都实验了两个不同版本行为艺术《囚》，两个展览均是中央美院美术馆副馆长策展人王春辰博士策展。在艺术门画廊的展览中，我开始邀请舞者来合作，告诉她需要做的动作和表演想传达的意义。当时面试了好几波舞者，有俄罗斯美女舞者，也有舞蹈学院的学生，她们过多的使用学校里学习到技能，而对我想表达的行为艺术的困境和实验性没有什么感悟，我在简短的面试后纷纷pass了。最后，定下来的是当时还是瑜伽老师的何雨（后来她也投身当代艺术创作领域），她有着敏感的大眼睛和不那么模式化的表演经验，直觉告诉我，她一定可以的。所以我们经过简单的彩排和位置的设定后，她穿着我提供的服装和道具，带着她自己对我作品的理解和感觉就上场了。这是我第一次和舞者合作一个行为表演，我更像一个编剧导演灯光师摄影师一样在场外操控这一次表演的全过程，获得了一次宝贵的合作经营。在美国布罗德美术馆的表演则是我自己亲自上场，我提前布置好了地面一圈圈的牢笼舞台，自己站在舞台的中央，开始我的另一次现场表演。我一圈一圈把白色绳子缠绕在自己的身上，慢慢越来越多，不能动弹，期间我听到观众中传来啜泣的声音，这让我清楚的感受到这样简单又略显单调的行为表演的真正魅力，和观众之间情感的共鸣是流动的。

In 2015 and 2016, I experimented with two different versions of the performance art Prisoner in Shanghai Art Gate Gallery and the Broad Art Museum in the United States respectively. Both exhibitions were curated by Dr. Wang Chunchen, deputy director and curator of the Art Museum of the Central Academy of Fine Arts. In the Art Gate Gallery exhibition, I began to invite dancers to collaborate and tell her the movements she needed to do and the meaning of the performance. At that time, I interviewed several waves of dancers, including beautiful Russian dancers and students from the dance academy. They used too much the skills they learned in school and had no understanding of the predicament and experiment of performance art that I wanted to express. I passed the interview after a short time. In the end, it was He Yu, then a yoga teacher (and later a contemporary artist), who, with her big, sensitive eyes and less stereotypical performance experience, told me she could do it. So after we went through a simple rehearsal and position setting, she wore the costumes and props I provided, and brought her own understanding and feeling of my work on the stage. This is the first time for me to cooperate with dancers for a performance. I am more like a scriptwriter, director, lighting engineer and photographer to control the whole process of this performance outside the venue, and I have obtained a valuable cooperative management. The performance in the Broad Art Museum in the United States was my own performance. I arranged a cage stage with circles on the ground in advance and stood in the center of the stage to begin my other live performance. I wound the white rope round and round around myself, slowly more and more, unable to move, during which I heard the sound of sobbing from the audience, which made me clearly feel the real charm of such a simple and slightly monotonous performance, and the emotional resonance between the audience is flowing.

2017年我在厦门兑山美术馆的《自由的黑洞》展览上再次实验了我的行为表演。这一次，我把美术馆的灯关了，在一个暗空间里，把当时还是华侨大学的学生舞者韵可安排到2米多高的人字梯上，穿着我提供的超长黑裙，她头顶几厘米就是美术馆的天花板，她戴着面具像被困在高处的玩偶，用力舞动着发光的LED灯圈，灯圈围绕着她，虽然她用尽力气舞动，但却被沉重的光圈困住，也被一个压抑的空间困着上不去，也下不来，徒劳又努力在挣扎。现场我也安排了十五个学生间歇性地做口号式的快闪行为。他们在人群中，突然拿出梳子和镜子，梳着头，整齐划一地反复喊出行为艺术之母阿布拉莫维奇的那句名言“艺术是美的，艺术家是美的”。在观众的错愕中又突然结束这一行为隐没于人群中。  

In 2017, I experimented with my performance again at the Black Hole of Freedom exhibition at the Taishan Art Museum in Xiamen. This time, I turned off the lights of the art museum and placed Yun Ke, a student dancer from Huaqiao University at that time, on a step ladder more than 2 meters high in a dark space. She wore an ultra-long black dress provided by me. A few centimeters above her head was the ceiling of the art museum, and she wore a mask like a doll trapped in a high place. Although she tried her best to dance, she was trapped by a heavy aperture, and was trapped by a repressed space, and could not go up or down, and struggled in vain. I also arranged for 15 students to intermittently perform chant flash MOBS. In the crowd, they suddenly took out their combs and mirrors, combed their heads, and repeatedly shouted out the famous words of Abramovich, the mother of performance art, "Art is beautiful, artists are beautiful." In the audience's consternation and suddenly ended the act disappeared into the crowd.

2023年我在福州三艺术空间实践了另外一次名为《命运三女神》的行为表演。这个行为表演灵感源自古希腊神话中的命运三女神，一个拿着纺锤纺织出命运的线，一个拿着尺子丈量命运的线，而第三个女神则拿着剪刀，剪断主宰自己的命运之线。这次的表演是和同样有留法履历的迪子老师团队的三个舞者合作，我和她数次沟通了自己的想法，提供了演出的的服装道具灯光和行动的路径，表演的大致需求。接下来的一切就交给她们现场自由的发挥了。作为主舞，我把她像一个雕塑一样固定在了展览的一个独立的空间里的人字梯高处。这个空间十分狭小，她像是被困在一个黑盒中。然后，我让另外两个舞者拿着灯球和光鞭，一路指引着观众从外场来到她所在的展出空间。在这个空间里，三个舞者之间通过痛苦的扭动和情感的传递，来表达一种对命运的掌控和抗争。

In 2023, I practiced another performance called "Three Goddesses of Destiny" in Fuzhou Three Art Space. This performance is inspired by the three goddesses of fate in ancient Greek mythology, one holding a spindle to spin the thread of fate, one holding a ruler to measure the thread of fate, and the third goddess holding scissors to cut the thread of destiny that dominates her own. In this performance, I cooperated with three dancers from Teacher Di Zi's team who also has French education experience. I communicated with her several times about my ideas, provided costumes, props, lighting and action paths for the performance, and the general requirements of the performance. The rest is up to them on the spot. For the main dance, I fixed her like a sculpture in a separate space of the exhibition on the height of the herringbone ladder. The space was so small, it was like she was trapped in a black box. Then I had two other dancers with balls of light and whips guide the audience from the outfield to the exhibition space where she was. In this space, the three dancers express a kind of control and struggle over fate through painful twisting and emotional transmission. 

2024年3月我在策展人郑娜博士的展览《向上生长》中，用八张综合材料绘画《桃花源》系列之粉山蓝水作为行为艺术的引子与现场，演绎了行为表演作品《桃花源-仿佛若有光》。魏晋著名的诗人陶渊明在他所写的《桃花源记》描述了一个远离战乱和压迫的理想社会，这里的人们享受着和平与自由的生活。他的文章通过对桃花源安宁和乐、自由平等的描绘，展现桃花源内的人们对美好的生活的追求，注重个人内修，不被外界干扰得以实现内心的平静与安宁，同时也表达着作者在理想幻灭之后的逃避与遁世。而我觉的《桃花源记》里“山有小口，仿佛若有光。” 而这个仿佛若有的“光”暗合着柏拉图在《理想国》里的洞穴隐喻所描述的囚徒与光。在黑暗洞穴中长期生活的囚徒，面对能看到实物真实面貌的的阳光，会做出什么样的选择？于是我在开幕式上把展览现场的灯全部关闭，在幽暗的展览环境里，舞者手举着光球和射线灯指引着观众观看微弱光线下的《桃花源》系列架上作品。柏拉图的洞穴隐喻里揭示过人类认知的局限性，片面性和偏见。真实的世界是不是我们在微光或黑暗中看到的那样？囚徒究竟要如何才能走出无知状态，然而走出洞穴走进光明是不是意味着获得光明得到真理？人们对桃花源和乌托邦的追求是永恒的，然而由于认知局限和偏见却往往带来更大的灾难。

In March 2024, in the exhibition "Growing Up" by the curator Dr. Zheng Na, I used eight composite paintings of Pink Mountain and blue water of the series "Peach Blossom Land" as the introduction and scene of performance art, and performed the performance work "Peach Blossom Land - As If There Were Light". Tao Yuanming, a famous poet in the Wei and Jin Dynasties, wrote in his book The Peach Blossom Source, an ideal society far from war and oppression, where people enjoyed a life of peace and freedom. Through the depiction of peace and happiness, freedom and equality in Taohuayuan, his articles show the pursuit of people in Taohuayuan for a better life, pay attention to personal internal cultivation, and achieve inner peace and tranquility without external interference, and also express the author's escape and withdrawal from the world after disillusionment. And I think in "Peach Blossom Source", "the mountain has a small mouth, as if there is light." This seemingly "light" corresponds to the prisoner and light described in Plato's cave metaphor in the Republic. A prisoner who has lived in a dark cave for a long time, faced with the sunlight that can see the real face of the object, what choice will he make? Therefore, I turned off all the lights at the exhibition site at the opening ceremony. In the dim exhibition environment, dancers held up light balls and ray lamps to guide the audience to watch the shelf works of "Peach Blossom Land" series under the weak light. Plato's cave metaphor reveals the limitations, one-sidedness and bias of human cognition. Is the real world what we see in twilight or darkness? How on earth does a prisoner come out of ignorance, but does going out of the cave into the light mean getting the light and getting the truth? People's pursuit of peach blossom and utopia is eternal, but because of cognitive limitations and prejudices, it often brings greater disasters.