Writings/Publications
Box Man/Another Face/Everyday Birthday/Human Spring
(Poetry Booklets)
《盒子人》/《另一张脸》/《每日生日》/《人间之春》
（诗歌小辑）
这四本诗集源于我对身份与空间的持续观察。《另一张脸》从对立的剪影开始，探索现代生活中的双重性。《牙医》（致Sarah Howe）中诊疗关系的亲密与疏离，《工厂里的性魔》（致Kim Hyesoon）里马来西亚女工的"附身"与反抗，都是这种双重性的体现。
《盒子人》关注被管理的空间：工厂、办公室、公共卫生间。《白色之上的白色》描绘了办公场所中无声的暴力，《公共杯》将19世纪的公共设施与种族隔离连接起来。我试图在这些日常空间中发现裂隙。
《人类之春》质疑进步的传统叙事。《白色甘蔗糖》回溯19世纪古巴华工的历史，思考创伤如何延续；《科幻诗》（致Franny Choi）通过反乌托邦场景拼贴出当下的困境。动物在诗中频繁出现：被阉割的猫、迷路的鳄鱼、醉酒的猪，它们既是生存状态的映射，也暗示着其他的可能。
《每日生日》探讨表演性与重复。从《免责声明》对艺术展览的批评，到《我们拥抱着哭泣，因为我们没有钱》中情感与经济的纠缠。每个诗集最后都以同样的循环诗作结，这重复既是对困境的确认，也是对突破的想象。
These four collections stem from my ongoing observations of identity and space. Another Face begins with opposing silhouettes, exploring the duality in modern life. From the intimacy and alienation in medical relationships in "Dentist" (after Sarah Howe) to the possession and resistance of Malaysian factory workers in "Sex Demons in The Factory" (after Kim Hyesoon), this duality manifests throughout.
Box Man focuses on managed spaces: factories, offices, public restrooms. "White on White" depicts the silent violence in office spaces, while "Common Cup" connects 19th-century public facilities with racial segregation. I attempt to find fissures within these everyday spaces.
Human Spring questions traditional narratives of progress. "White Cane Sugar" revisits the history of Chinese laborers in 19th-century Cuba, contemplating how trauma persists; "Sci-fi Poem" (after Franny Choi) assembles dystopian scenes to reflect our current predicament. Animals appear frequently: neutered cats, lost crocodiles, drunken pigs - they are both mirrors of existence and hints of other possibilities.
Everyday Birthday explores performativity and repetition. From the critique of art exhibitions in "Disclaimer" to the entanglement of emotion and economy in "We Cry in Embrace, For We Have No Money." Each collection ends with the same circular poem, a repetition that both acknowledges constraints and imagines breakthroughs.
Intoxicated and Intoxicating Terroir of “Yellow Queer” Theories: experiences, positions, and subjectivities
“黄色酷儿”理论的醺然与醺染：
经验、位置与主体性
在这篇实验性论文中，我将批判理论、个人经历和艺术实践编织在一起，探索种族、酷儿身份和毒性之间复杂的交织关系。我选择用字母表式的结构来组织这篇论文，这种形式不仅有意识地抵抗线性叙事，也反映了我对身份流动性的思考。以我的动画作品《扮装章鱼》为核心，论文通过"黄色酷儿"的视角，探讨种族和性别身份如何通过翻译、误译和不可译性而构建。
我借鉴了多元的思想资源——从陈元青关于毒性的研究，到道家的"无为"概念——展示理论如何在不同文化与知识传统的交汇处发生"克里奧化"。论文涉及从性病到中国瓷器、从"罔两问景"到"坍塌美学"等多样话题，揭示黄色酷儿经验如何在多重时空中展开。这种实验性的写作不仅是对自身经历的反思，也试图为思考当代语境下的身份认同、身体性和艺术实践开启新的可能性。
In this experimental thesis, I weave together critical theory, personal experience, and artistic practice to explore the complex intersections of race, queer identity, and toxicity. I choose to organize this thesis in an alphabetical structure, which not only consciously resists linear narrative but also reflects my thinking about identity fluidity. Centered around my animation work "Octopus in Drag," the thesis explores how racial and gender identities are constructed through processes of translation, mistranslation, and untranslatability through the lens of "yellow queer."
Drawing from diverse intellectual resources—from Mel Y. Chen's work on toxicity to the Daoist concept of "wu-wei"—I demonstrate how theory undergoes "creolization" at the intersection of different cultural and knowledge traditions. The thesis covers topics ranging from STDs to Chinese porcelain, from "Penumbrae Query Shadow" to "An Aesthetic of Collapse," revealing how yellow queer experiences operate across multiple temporalities. This experimental writing is not only a reflection on personal experience but also attempts to open new possibilities for thinking about contemporary identity, embodiment, and artistic practice.
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