In my work, musical structure emerges from the body rather than the other way around.
I compose through action, interaction, and performative situations,
treating bodies, objects, and movement as the primary sources of musical form.
The body does not execute music—
it produces it.
Each work is not a fixed object,
but a situation to be lived, tested, and confronted in real time.
My compositions are not fixed works, but performative situations.
Each piece is constructed through the interaction of body, sound, objects, and space, where musical structure emerges in real time rather than being fully predetermined.
I approach composition as a process of testing limits—of control, endurance, and perception—allowing instability and resistance to actively shape the form.
The work does not exist as a stable object, but as a lived experience that only comes into being through performance.
I do not consider my practice within competitive frameworks.
My work develops through performance, research, and continuous experimentation rather than recognition through awards.
I do not separate artistic practice from physical experience.
Training, repetition, fatigue, and resistance are integral to my work.
What happens to the body becomes compositional material.
Bachelor’s degree from Sichuan Conservatory of Music.
Graduate studies in composition at the Royal Danish Academy of Music.
My work focuses on the emergence of musical structure through the body, performance, and real-time interaction.