- Presenting Where the Sky Got Sewn to the Soil at the final show.
All the artworks are ready. The remaining tasks include finalizing additional materials such as wall texts, possibly creating a booklet or a few small brochures. I’m also considering designing a costume for the performance, as well as costumes for my daughters, who will be part of the presentation. These details will help complete the immersive experience of the final show.
- Developing new performance works for museums, temples, and outdoor sites.
This is something I will conceptualize on-site, responding to the unique atmosphere and energy of each location. I now understand my strategy: it feels as though I’ve attuned myself to a mode of production where everything around me—the place, the time—sparks an impulse to perform and create. Almost all my performances over the past two years have emerged in this way, arising spontaneously from the site itself. This approach is difficult to plan in advance, as it depends on the environment and the moment. At present, I am contemplating a performance in the oldest temple, where I am intrigued by the transformation of the Bodhisattva into Guanyin. Guanyin’s name translates to “Perceiver of the Sounds of the World,” which inspires me to consider how my performance can embody listening, transformation, and the act of responding to both inner and outer worlds.
- Combining installation, movement, and audience interaction.
Next year, I might plan an exhibition where I present all the works I have created over the past two years. I’ve already made an initial attempt at finding a venue, but it’s possible that the location will end up being quite different from what I initially envisioned. I’ll gather all my ideas into one cohesive concept and begin writing a proposal. This exhibition will bring together installation, movement, and audience interaction, creating an environment where viewers are not just spectators but participants. I also plan to include workshops for visitors and showcase video works as an integral part of the exhibition, expanding the narrative and offering multiple ways to engage with the ideas behind the work.
- Expanding my work in video-based storytelling and performance films.
I plan to further integrate film and digital media into my practice, capturing ephemeral performances and transforming them into enduring works. This will involve developing technical skills in filming, editing, and sound design, as well as exploring how the moving image can convey layered narratives of transformation, ritual, and embodied memory. My aim is to create video works that are not just records of performances but works in their own right, capable of evoking emotions, memories, and connections across time and space. I will also consider incorporating voiceover, poetic texts, and archival footage to deepen the storytelling, and I plan to experiment with different formats such as projection, multi-channel installations, and interactive screens to fully utilize the potential of digital media in engaging the audience.
- Engage in cross-disciplinary collaborations to expand the scope of my practice and reach new audiences.
I intend to collaborate with practitioners from fields such as anthropology, dance, digital media, and literature to enrich my practice and push the boundaries of traditional art forms. These collaborations will not only expand the scope of my creative work but also provide opportunities to explore new methodologies and ways of thinking. By integrating diverse perspectives, I hope to spark meaningful dialogues that challenge existing assumptions, question conventional hierarchies, and open fresh avenues for storytelling and cultural exploration.
- Deepen my research into cultural and mythological narratives to inform future projects.
I will intensify my study of folklore, ancient rituals, and symbolic motifs from around the world, drawing parallels between traditions and contemporary issues. This research is the soul of my practice—it is where my work begins and what sustains it throughout. By delving into these cultural and mythological narratives, I aim to create art, performances, and writing that resonate with universal human experiences while honoring the specificity and depth of each tradition.
In the coming months, I plan to immerse myself in the writings of Marina Warner, particularly Once Upon a Time: A Short History of Fairy Tale and Stranger Magic: Charmed States and the Arabian Nights, which explore the cultural significance and enduring power of fairy tales and magical thinking. I also intend to read The Heroine with 1001 Faces by Maria Tatar, which examines how female figures in myth and folklore continue to inspire and reflect contemporary realities. These texts will deepen my understanding of how stories shape our perceptions, identities, and societal norms, offering new insights to inform my future projects.
- Beginning PhD research that explores art, performance, and anthropology together.
I will formalize my ongoing inquiry into the intersections of artistic practice and cultural research, developing a robust PhD proposal. This will include defining clear research questions, identifying methodologies that bridge practice and theory, and engaging with academic and artistic communities to refine my focus. My goal is to contribute to new understandings of how art can activate cultural memory and challenge societal norms.
- Actively pursue teaching opportunities to share my knowledge and experience, fostering new generations of artists while expanding my own practice through dialogue and mentorship.
I plan to apply for teaching positions at universities and cultural institutions, offering courses that blend theory and practice. Through teaching, I aim to nurture critical thinking, creativity, and cultural awareness in students, while also staying engaged with emerging ideas and methods that can inform my own work.
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Establish a balance between my studio practice, teaching, and research to create a sustainable and impactful career that bridges cultural, artistic, and educational spheres.
So far, I’ve managed to strike this balance quite well. It’s a combination of taking small steps and making big plans, like placing stakes in a long-term calendar that help me stay focused and grounded. This balance allows me to navigate between immediate tasks and future goals, ensuring that each area of my practice—whether it’s in the studio, classroom, or research—supports and informs the others.
At the same time, family remains my top priority, and I recognize it as an integral part of my practice. My role as a mother not only brings personal fulfillment but also informs my work with themes of care, resilience, and intergenerational storytelling. By keeping family at the heart of my practice, I stay connected to the human experiences that inspire and sustain my art.