At the moment, I am exploring visa and residency options in various European countries, as well as citizenship policies in China’s first-tier cities. Both systems are highly complex and often unfriendly to non-EU citizens and to Chinese nationals alike. For instance, in Switzerland, non-EU graduates are granted only a six-month job-seeking visa, and each year, only 500 work permits are allocated to non-EU citizens—rarely for positions in the arts or cultural fields. Germany’s artist visa, while offering a one-year residency, has become less viable than in the past. With recent cuts to cultural funding—especially in Berlin—and a worsening economic climate, sustaining an artistic career there has grown increasingly precarious. I have started considering a return to China, where, as an international graduate, I may be eligible for Shanghai residency if I secure a job and pay social insurance for at least one year. However, China’s household registration (hukou) system is designed to regulate population flow into resource-rich cities due to limited access to education and healthcare. As a result, for many Chinese citizens, transferring official residency from one’s hometown to a major city is nearly impossible without property ownership or long-term employment.
I hold a BA in Fine Arts, a BS in Chemistry, and is currently completing my MFA at Zurich University of the Arts. I have received multiple grants during and after my studies and have participated in international residencies in Austria and China. my work has been exhibited widely across Switzerland, Germany, and China. My artistic practice spans writing, performance, multimedia installations, Chinese ink painting, and calligraphy. This plurality of mediums in artistic practice is essential to how I integrate being a woman and reflecting on ecological issues—just as in real experience, where complexity arises from the entanglement of many forces. Writing enables me to articulate the visible gender bias embedded in languages structured by gender binary, as well as to expose the more subtle, often invisible asymmetries within the Chinese language. Calligraphy, unlike alphabetic writing that unfolds linear time perception, intimately incorporates the observation of nature into each stroke—embodying a philosophy of life in which every form, whether organic or inorganic, holds vitality. Similarly, in my Chinese ink paintings, I depict collapsing glaciers, withering lotus leaves, and mountains dissolving into rain, as a response to the vulnerability and ongoing shifts of ecological systems. In performance, I explore the struggling of a woman navigating landscapes shaped by patriarchy, capitalism, and social media. My multimedia installations create immersive spaces in which I investigate one of the core philosophical questions of my work: how differing conceptions of time and space in Eastern and Western traditions inform our relationship with the environment. These conceptual “cracks” offer a moment of clarity—an opening to reimagine how ancient Eastern philosophies might guide new ecological ethics and actions. I explore art and science collaboration with a focus on sustainability, foregrounding overlooked women's experiences. My collaboration with ETH Zurich’s Grassland Science Group has been acclaimed in both the arts and sciences, receiving art grants for funding the research as well as bordering the outcome. and the project was selected for presentation at the eLTER Science Conference 2025.