My work explores the stories of women erased from Chinese history. In some regions of China, female children face sex-selective abortion, abandonment, and infanticide. They are the victims of institutional systems and the blind spots in historical memory. They never had their own time, names, or voices.

The wooden installations and ritual objects, such as ceramic burial shoes, sycee (gold ingots), and longevity locks, are my attempts to establish a form of connection. Through this process, I experience a subtle yet profound sense of sisterhood with them.

This work is not a complete historical narrative. Rather, it asks  If a girl has never been named, does she still hold meaning? Can we, through the ritual of art, encounter her across time and states of existence?

我的作品探讨了那些在中国历史上被抹去的女性的故事。在中国的一些地区，女婴面临着选择性堕胎、遗弃和杀婴。她们是制度体系的受害者，也是历史记忆中的盲点。她们从未拥有过属于自己的时代、名字和声音。

那些木制装置和祭祀用品，比如陶制的寿鞋、金元宝和长命锁，是我试图建立一种联系的方式。在这个过程中，我与它们产生了一种微妙而深刻的姐妹情谊。

这部作品并非完整的历史叙述。它在追问：如果一个女孩从未被命名，她是否依然具有意义？我们能否通过艺术的仪式，在跨越时空的存在状态中与她相遇？