There is a giant hole in the sky. It’s swallowing this city alive. 

A queer diasporic future rooted in ancestral memory, sacred decay, and speculative mythologies. My practice is a conjuring of past and future, built through ceramics, textiles, painting, and performance. I search for kinship in destruction and digest trauma through rituals and prophecy. Like an ouroboros, this cycle of consumption and regeneration is central to my work. Informed by anthropophagy as a metaphor for autophagy, I metabolise grief and violence into sacred artefacts of survival. My processes stem from intuitive writing, exploring the subconscious dream realm and embodied experience.

Degree Show Space with white walls and window. An audience is looking at the paintings on the wall, surrounded by colourful sculptures in the space.
MA CAP Degree Show 2025

The Dreameater

Oil and acrylic on canvas. 100x100cm.

Square painting against a white wall of hares and rabbits running within a spiral. They are multicoloured and in between them are abstract symbols and illustrations. The background is pastel purple and yellow.

Hill town, Hell city

Oil and acrylic on canvas. 145x80cm.

Painting with striking colours, mostly green, pink and blue. It depicts a figure in the middle being abducted by an alien figure on the top half of the painting. The composition is symmetrical and is delineated by two mountains on the side and bottom half of the painting.

Castrator 

Mixed fabrics and glazed stoneware. 150x90x50cm.

Soft sculpture of a stuffed ionic shape with a red snake protruding out of it, trying to eat its own tail. The sculpture is covered in ruffled ribbon and some patterned fabric, such as gingham and tartan.

Shelly's Head 

Needle felt. 30x40x25cm.

floating felted head

The Tower of Desire

Glazed stoneware and needle felt. 

Back side of ceramic tower, with Edinburgh Castle visible through the window.

I'm a Chinese multidisciplinary artist born in Spain and living in Scotland. I exist between mythologies, languages, and cultural ghosts. My works are inhabited by hybrid beings such as aliens, mutants and queer deities, whose forms are shaped by Chinese mythology and neo-folklore. Figures such as the Rabbit God are revered as protectors in this temple. They speak across time to the vagina-alien race, a future species sent to destabilise heteronormative colonisation, echoing the subversive arrivals of Santi in The Three Body Problem. These creatures are not invaders but decolonial angels. In my universe, tradition is desecrated and reborn. Qing dynasty blue and white ceramics, which colonised my childhood as Spanish azulejos, are reimagined as clay relics, their cracks carrying fury. I draw inspiration from artists like Xiyadie, whose use of traditional craft to express queer longing is a blueprint for my own practice. The firing of these sculptures is alchemical and echoes destruction that births strength. 

The tower recurs in my dreams and visions, sometimes as a pagoda, sometimes a surveillance structure or as Dante’s Inferno. It is a site of transition and self-construction, a place of isolation that becomes a lighthouse for lost souls. Drawing on Sinofuturism, I imagine the tower not as a prison but as a transmitter. Within its walls, scripts of resistance are coded in multiple tongues and bodies are rewritten through cybernetic enhancements and divine mutations, as well as symbols and fragments of childhood. I channel queer Chinese futurity through a lens of mourning and joy, using artefacts to chronicle the invisible. This world I build is not just fantasy but a survival strategy, prophecy, and invitation. 

Movement is another language I use to reconfigure power and reclaim joy. Influenced by the legacy of queer ballroom, I understand dance as a form of resistance, a defiant celebration of the body in the face of erasure. Grief is exorcised through motion and identity is declared not in words, but in presence, rhythm, and gesture. These rituals honour queer ancestors who carved space through movement, and create new space for others to step into.

Hell Is Bugging Me. Performance with sound by Pete McConville (@pete_illiop).