The practice of weaving begins by following the behavior and logic inherent in the materials themselves. This process unfolds through the stacking and interlocking of materials. It can originate from a fixed technique but more often, as it progresses, new paths emerge from adjusting the sequence of materials. The disruption of established patterns, along with the accidental omission or introduction of materials, collectively fosters an intertwined state of “disorder.” For me, the practice of weaving resembles an experiment in connection and collaboration.

The Weaving Practice series began in 2024, though its roots trace back to observations made during the Shanghai lockdown in 2022. At that time, a parasitic plant called dodder spread wildly through my studio courtyard. My initial attempts to clear its tangled stems gradually gave way to a deep fascination with its resilient survival strategy and its subversively disordered form. Its presence became both a challenge to the established order and a peculiar form of companionship. Starting from the dodder, my research deepened into plant organs—microstructures such as haustoria, pistill, epidermis, and trichomes, which serve functions fo of reproduction, contact, information exchange, and nutrient procurement with the external world. I sought to extract their inherent logic and understand the possible modes of communication they might embody.

In the work, I transform and weave the forms of these plant organs. In the making, I collaborate with materials of distinct personalities and have also invited my mother to contribute her unconventional knitting wisdom. Hand-carved wood, cast silicone limbs, and the warp and weft of fibers intertwine to form mycelial or vine-like morphologies. This process might be viewed as a practice of a decentralized creative ethic.

This project is dedicated to my mother—an important presence both in my life and throughout this exhibition.