My work explores the psychological state of the border through the metaphor of the death of an image.

​I am a visual artist from Beijing, China who makes work drawing from personal experience and self-identity. I challenge and construct alternatives to normative definitions of gender, ethnicity, and social character through photography, video and performance. I use strategies that encompass masquerade, role playing and humor. The locations in which I work include the studio, art gallery, domestic and the public sphere. These locations are frequently transformed to reflect shifts and changes that subjects at the center of my investigation undergo.

Project Body Bag is an exploration of my body and a photo documentation of its relationship to the materials, space, and people around me. I began with a literal outline of my body as the pattern for a fabric bag which I constructed to hold metaphorical baggage.

My work examines the changing face of masculinity in today’s society. I like to explore issues of vulnerability, as the idea of men being vulnerable and having feelings goes against what I and many people growing up in conservative homes are taught. I like to examine issues that are rarely discussed, especially not from the male perspective. My work serves as a memorial to emotions long buried and often not allowed to be felt. The work is not intended to be a call-to-arms for the viewer, but more a reassurance to those struggling that their feelings are valid and they are not alone.

These series of illustrations portrays a ceiling intervention that rethinks pre-established norms and challenges the ancient relationship between the living and dead in Hong Kong. The ceiling intervention, a columbarium, creates a language that doesn’t encourage one to look forward at eye level nor look down at a tombstone but look upwards.

My newer works are exploring mixed media and are breaking the boundaries between painting and sculpture. These works begin to pose questions of the known scientific universe that is intertwined with the human perception of space, time and the beyond. As NASA discovers new planets capable of inhabiting life. I am seeking to explore and imagine these unknown planets. The parts of space that we are just now beginning to understand and those galaxies and other phenomenons that we have yet to discover. As our planet struggles with global warming, the concept of extinction lingers as many choose to ignore the facts. My eyes are focused on exploration, crystals and minerals. Along with the search for alien life, dreams of efficient space travel and colonization on new worlds.

Stevens' work hijacks a modernist vocabulary to explore the postmodern subject as a visual body within the panoptic and indexical systems of our spectral society. Through photography and traditional media Stevens explores his own identity and the nebulous afflictions it suffers under the dynamic and alienating influences of contemporary society.

Jeane Cohen's work examines the metaphysical through the tangible and immediately present. She is looking backwards to 1543 when the England Parliament started restricting timber, and started looking to the Americas to supply these resources. She is looking forward in anticipation of a time when artwork will be a time capsule for natural environments and ecologies that no longer exist on earth. Jeane's paintings and drawings are intimate evidences of a contemporary climate.

In today's extreme political reality sharing individual experience through emotion and not merely through personal interest is crucial to our society. My work is a network of personal associations, images and gestures from my inner world, fears and desires. This is a vulnerable position, but one that gives me great sense of empowerment.

With the television set - both as illusory window and as furniture - as the reference point, a different kind of was involved: between the three dimensional illusion of the image, the flatness of the screen, and the different three- dimensionality of the apparatus.

Strongly characterized by gesture and material, the work references the unavoidable and unexpected development of change and eruption in our life cycles. Through natural agriculture and architectural motifs, I depict my own system of mapping these cycles. I’m inspired by aerial maps of landscape and the visuals of geographical transformations.