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2025-09-25T18:30:30+00:00 always 0.5 https://irisawesome.com/traces-‘free-assemblage-making’-as-a-method-to-touch-self-narrative(2023-2024)-1 2025-09-25T18:30:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/P2031791930032739403583499532101/IMG_3854-2.jpg https://freight.cargo.site/t/original/i/P2031791929977399171362370877253/1.jpg <div style="text-align: center">'Free-assemblage making' is an innovative term that I created during the research journey, which was for differentiating my interdisciplinary method from traditional assemblage, collage, and digital world-building. Free-assemblage-making allows artists to decompose and reconstruct original objects subconsciously in any dimension, free from the structures and considerations of art practice that already have. After the process of choosing, placing, and making, it goes to use autobiographical reasoning afterward to analyze the choices they made in the process. By matching previous emotions or stories with the outcomes from the making process, the structure of the self-narrative will be touched, and old memories held in objects raised.</div> https://freight.cargo.site/t/original/i/B2031823173670558670998972135237/Iris_The_tent_04.png <div style="text-align: center"><a class="caption-for-mobile" href="the-tent(2024)-1" rel="history">The tent (2024), Experiment 5.2, heat pressing transparent textile, collage</a></div> <div style="text-align: center">I’m in a in-between world, formed from the weird graphics and my words. I’m walking in the city, but can’t see. Where am I going, and what for. I’m listening to the sound, from my tent, from my space, from my mind. I’m in the tent, I’m with the tent, I am the tent. Please be curious of what I am, I don’t know what I am, You say what I am. Who are you? It doesn’t matter anymore, I can’t see you anyways.'</div> https://freight.cargo.site/t/original/i/B2031945089843902039985752373061/IMG_3588-.jpg <div style="text-align: center"><a href="sleeping-in-the-wood(2023-2024)-" rel="history">Sleeping in wood(2024), Experiment 2.3, 200*200cm, installation, objects from my past, assemblage sculptures, video</a> 'I am attempting some kind of rescue operation, trying to restore things to their former integrity and former status, to bring myself back to the space of the past. In that space, I don't hear the ghastly noises of my family, and I don't have to deal with all the disturbing emotions I've encountered out there and in men. I digested and healed on my own, and I was safe with myself. Those needs of yesteryear: unconditional love, the desire for sex and ultimately the intimate space they constitute, condense in this one object. Those confusions that I didn't understand in my youth become clear in the present day. At the beginning of my adolescence, when the self-narrative was budding, the process of objectification of the female self manifested itself in one decorative kitschy trinket. My stuffed animals that were my only companions during my restless and chaotic adolescence, silently providing unconditional listening, also appear in this one package.' 'Here, I finally understood, I finally saw. In the vast gaps of my self-narrative were my constant attempts to distance myself from my environment, my attempts to desire the impotence of being desired. It was the restlessness I kept feeling in my mind at work, my need to be safe, safer. I needed stable connection, more stable connection. In a large void, all the attempts I made driven by this force created a disconnect with my overall emotions, which leads to a very sad speculation: Maybe all the attempts I've made in the past have been useless.' </div> https://freight.cargo.site/t/original/i/B2032009258872304286769099306821/IMG_3374-.jpg <div style="text-align: center"><a class="caption-for-mobile" href="won't-u-remember-me(2024)-1" rel="history">Won’t you remember me, 2024, Experiment 4.1, A3 printed 2-sides leaflet, free-assemblage making, graphic manipulation with urban traces and asemic writing</a></div> https://freight.cargo.site/t/original/i/Z2042608436748563007402101962565/2024-06-27-14.41.39.png <div style="text-align: center">This study, which combines art practice and autoethnography, began by addressing the sense of alienation and dislocation between international students and first-generation female immigrants as a result of dramatic environmental change. The research by practice combines psychology and psychoanalysis, invoking the framework of self-continuity and the concept of self-narrative. A written and visual, sculptural practice of 'free-assemblage making,' explores the materiality of traces as elements that speak of the fragmentation and discontinuity of cultural and environmental displacement and dislocation. Key writers and makers drawn upon include Sedikides with self-continuity, Steyerl with materiality, Lic Rodrigo B with Lacon's theory, Tracey Emin with feminist installations and Hew Locke with found objects sculptures. The research explores how might we use 'free-assemblage making' to represent as well as analyse psychoanalytically, poetically and visually the ideas of self- continuity and self narrative, and the paradoxes they hold.</div> https://freight.cargo.site/t/original/i/U2042611457919413911405046527813/1.jpg The Sun (2023), Experiment 1.3, illustration sketch, with acrylic on plastic sheet https://freight.cargo.site/t/original/i/W2042611457864073679183917872965/2.jpg The Monument (2023), Experiment 1.2, sculpture, 20*20cm, with found objects https://freight.cargo.site/t/original/i/V2042611457900967167331336976197/3.jpg The Net (2023), Experiment 1.1, sculpture, 30*30cm, with found objects https://freight.cargo.site/t/original/i/D2042613270404252873737040557893/8.jpg <div style="text-align: center"><h1>Be touched</h1> working with objects from my past, free assemblage making in physical world, and touching self-narrative with making and writing “I'm sitting in my house at a table by the window. Despite the large window, most of the time, day or night, the sun does not shine into my room. As I sit here alone, I am surrounded by warm yellow light, enveloped in it, and my vision is warm, even though my body doesn't feel the warmth.. There was no sound in all directions and I could hear myself breathing. My breath connected with them. Then I felt them with me, quickly forming a larger net that connected me to others and, by extension, to everyone in the world. I didn't know them, I'd never met them.…I sit alone in the house, and I am not alone…” </div> https://freight.cargo.site/t/original/i/J2042614881450646551160730941253/2024-04-16-16.28.46.png <div style="text-align: center"><h1>Be filled</h1> working with urban traces and asemic writing, free assemblage making in graphical world, observing dating life to see whether the gap in self-narrative been filled “Let me build you up, they said, I love you like crazy. A crowd of strangers rushed to my side and lifted me high in the air. We will die, they said, and together we will forge a golden bronze statue that exists only for you. They leapt up in a frenzy, one on top of the other, gradually turning into a small mountain. Some cut off their own arms and stuck their bloodied arms into the mountain; others gouged out their eyes and filled the gaps in the mountain. Slowly the hill took the shape of a snowman, and it swayed as if it would collapse at any moment. I lay down on it and looked at the sky, which had never felt so blue. Little by little, I melted into the hill. They became my blood. The new blood gave me strength and I ran to the top of the hill and turned into ashes under the sun.” </div> https://freight.cargo.site/t/original/i/N2042617383880607358377374512965/-1.png <div style="text-align: center"><a class="caption-for-mobile" href="will-u-remember-me(2024)-1" rel="history">Will you remember me,2024,, Experiment 4.2, A5 handmade book, free-assemblage making, graphic manipulation with urban traces and asemic writing </a></div> <div style="text-align: center">'I think of grasping, I always want to grasp. I always default to others in my favour and surround me only, I am the subject, they are the object. They become the substrate that fulfils my fragile dreams. Then the illusions break, one after the other, and the dreams gradually collapse, and I see behind the tattered curtains, remnants of a world in motion. In my dream world they are static, they are symbols, shapes, geometries of perception. I use the language they give me to explain me, to explain my world. When I don't need these symbols very much for construction, when the symbols I already have are enough to hold up the dream. At that point, new symbols will no longer intervene and the dream will be stable forever.'</div> https://irisawesome.com/the-tent(2024)-1 2025-09-26T16:19:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/H2031791930014292659509789980485/-1.jpg https://freight.cargo.site/t/original/i/K2031791929995845915436080428869/2.jpg https://freight.cargo.site/t/original/i/P2031791929977399171362370877253/1.jpg https://freight.cargo.site/t/original/i/T2031798287352596270179982505797/IMG_3868-.jpg https://freight.cargo.site/t/original/i/I2031820237815899107902703793989/The Tent (2024) https://freight.cargo.site/t/original/i/Z2031823173633665182851553032005/2024-06-05-18.01.48-.jpg https://freight.cargo.site/t/original/i/H2031823173652111926925262583621/Iris_The_tent_03.jpg https://freight.cargo.site/t/original/i/B2031823173670558670998972135237/Iris_The_tent_04.png https://freight.cargo.site/t/original/i/Q2031823173615218438777843480389/2024-06-05-18.00.38-.jpg https://freight.cargo.site/t/original/i/Z2042608436748563007402101962565/2024-06-27-14.41.39.png https://irisawesome.com/sleeping-in-the-wood(2023-2024)- 2025-09-26T16:19:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/L2031944740776163933179907143493/IMG_1161.JPG https://freight.cargo.site/t/original/i/T2031944740794610677253616695109/IMG_9495.jpg https://freight.cargo.site/t/original/i/G2031944740739270445032488040261/IMG_1156.JPG https://freight.cargo.site/t/original/i/F2031944740720823700958778488645/IMG_1155.JPG https://freight.cargo.site/t/original/i/D2031944740757717189106197591877/IMG_1160.JPG https://freight.cargo.site/t/original/i/D2031945089880795528133171476293/IMG_3620-.jpg https://freight.cargo.site/t/original/i/N2031945089899242272206881027909/small-installations-might-in-film.jpg <div style="text-align: center">At this point, the sphere that fuses past emotional stories and intimate space becomes part of the present environment, serving as the constant amidst change. As a result, the environment and space lose their importance. The artist rests within it, whether in the past or the future, now or elsewhere.</div> https://freight.cargo.site/t/original/i/B2031945089843902039985752373061/IMG_3588-.jpg https://freight.cargo.site/t/original/i/J2031945089862348784059461924677/IMG_3609-.jpg https://irisawesome.com/will-u-remember-me(2024)-1 2025-09-26T16:19:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/S2031973157136859255353532217157/-12-.jpg https://freight.cargo.site/t/original/i/I2031973156989285302763855804229/-.jpg https://freight.cargo.site/t/original/i/O2031973157173752743500951320389/-14.jpg https://freight.cargo.site/t/original/i/N2031973157099965767206113113925/-1-.jpg https://freight.cargo.site/t/original/i/J2031973157210646231648370423621/.png https://freight.cargo.site/t/original/i/N2031973157081519023132403562309/-.jpg https://freight.cargo.site/t/original/i/C2031973157229092975722079975237/.png https://freight.cargo.site/t/original/i/V2031973157155305999427241768773/-12-.jpg 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https://freight.cargo.site/t/original/i/L2033192462478195559050193925957/-21.png https://freight.cargo.site/t/original/i/C2033192462459748814976484374341/No.219_Lingyuzhang_1.jpg https://freight.cargo.site/t/original/i/E2033192613261881617552068835141/ra2.jpg https://freight.cargo.site/t/original/i/I2033192613243434873478359283525/ra1.jpg https://freight.cargo.site/t/original/i/O2033209125090075947561396729669/No.1202.png <a href="no-9719-no-1202-no-2202-no-1520" rel="history">No.1202 (2022), Sculpture 20*20*20cm </a>with Dried flowers, Hardwares, Discarded objects, Slime, Clay, Spray https://freight.cargo.site/t/original/i/K2033209125126969435708815832901/No.2202.png <a href="no-9719-no-1202-no-2202-no-1520" rel="history">No.2202 (2022), Sculpture 20*20*20cm </a>with Dried flowers, Hardwares, Discarded objects, Slime, Clay, Spray https://freight.cargo.site/t/original/i/Y2033209125108522691635106281285/No.1520.png <a href="no-9719-no-1202-no-2202-no-1520" rel="history">No.1520 (2022), 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https://freight.cargo.site/t/original/i/Y2096776344515585300914168395589/IMG_5950.jpg https://freight.cargo.site/t/original/i/Z2120773241921126930752544700229/2024-12-04-11.41.12.png https://freight.cargo.site/t/original/i/E2120778837224432856481159968581/2024-12-18-15.01.28.png https://irisawesome.com/projects-pc 2025-09-25T18:30:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/Y2242088902983186404877841725253/preview.jpg https://freight.cargo.site/t/original/i/D2242089995860539051800227215173/02-9142.gif https://freight.cargo.site/t/original/i/G2242103002327744031078299727685/16-.jpg https://freight.cargo.site/t/original/i/U2422146193398374198034244564805/2025-06-25-18.27.19.png https://freight.cargo.site/t/original/i/O2422148749342339563082297374533/2025-06-25-18.35.42.png https://irisawesome.com/the-hole-set-pc 2025-09-25T18:30:31+00:00 always 0.5 https://irisawesome.com/the-body-in-blue(2024) 2025-12-30T14:47:29+00:00 always 0.5 https://freight.cargo.site/t/original/i/S2568480047439900933711582197573/2024-11-23-12.25.08.png https://freight.cargo.site/t/original/i/L2568480047532134654080129955653/TheBodyinBlue_Iris_1.jpg “I feel my body dissolving into my bedroom; the space imprints itself onto my skin, shifting and pulling my mind into a vortex.” https://freight.cargo.site/t/original/i/Z2568480047495241165932710852421/TheBodyinBlue_LingyuZhang_1.png https://freight.cargo.site/t/original/i/P2568480047476794421859001300805/2024-11-28-15.19.38.png The Body in Blue is a multi-media work that explores the close connection between the physical body and the divine body within a feminist theoretical framework. The artist symbolizes the body trunk and alienates it into an abstract vessel for divinity and spiritual rituals. In this process, the body forms a distorted vortex, while the spirit plunges into this blue abyss. https://freight.cargo.site/t/original/i/M2568482880472409029950809831237/TheBodyinBlue(2024) https://freight.cargo.site/t/original/i/D2721592379192048801603062593349/The BODY IN BLUE INSTALLATION FINAL https://irisawesome.com/reborn(2024) 2025-12-30T14:47:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/F2568678188050067320516429215557/IMG_4381.jpg https://freight.cargo.site/t/original/i/I2568678188419002201990620247877/IMG_4404.JPG Reborn is not only an expansion of traditional performance art boundaries but a profound meditation on contemporary body politics and spatial phenomenology. Through photographic documentation, the work transforms ephemeral performance into a gazeable visual text, inviting viewers into a philosophical dialogue concerning existence, space, and corporeality. https://freight.cargo.site/t/original/i/V2568678188382108713843201144645/IMG_4409.JPG This work continues the artist's sustained exploration of the concept of "body as container." By juxtaposing the intimate space of the adolescent bedroom with the public natural environment, the work questions traditional spatial boundaries and bodily limits. The core question posed by the artist—"If my fantasy is a room, if my body is a room"—reveals a radical spatial philosophy: the body not only occupies space but becomes the generator of space itself. Within this conceptual framework, the artist imagines the self as "a light sphere emanating yellow luminescence," a poetic expression that suggests a state of existence transcending physical boundaries. Through analogizing different scales of space—body, room, city—the work explores how individual subjectivity is constructed and redefined through spatial practice. https://freight.cargo.site/t/original/i/L2568678188437448946064329799493/IMG_4403.JPG Reborn is an experimental performance photography work that explores the ontological relationships between body, space, and existence, privately presented in the natural environment of the Cotswolds in October 2024. Through a thirty-minute performance process, the work constructs a visual narrative concerning rebirth, return, and spatial identity. The performance begins with a symbolic "birth"—the artist emerges naked from a bathtub, reconceptualizing the bathtub as a metaphorical space of the primordial womb. This opening not only references biological birth but suggests an existential reconstruction of the self. Subsequently, the artist enters the natural forest environment, exploring the dialogical relationship between body and organic space through experimental dance, ultimately returning to the embracing arms of the jungle. https://freight.cargo.site/t/original/i/M2568688552869733968291872110405/IMG_4384.JPG https://freight.cargo.site/t/original/i/B2568689435380417198630530971461/IMG_4397.JPG https://freight.cargo.site/t/original/i/C2721593839528543396819716273989/IMG_2988-.jpg https://freight.cargo.site/t/original/i/Z2721593839565436884967135377221/IMG_3018-.jpg https://freight.cargo.site/t/original/i/R2721593839583883629040844928837/IMG_3003-.jpg https://irisawesome.com/talking-to-him(2025) 2025-09-25T18:30:31+00:00 always 0.5 https://freight.cargo.site/t/original/i/T2568637376916200503273463215941/2025-09-25-13.55.05.png This is a multimedia installation combining sculpture, video, and AI technology, constructing a scene of desperate and false communication. Two rusted television sets and worn furniture form symmetrical sculptural groupings, with screens displaying a fictional family dialogue scene—ironically, all of this is reassembled from fragments: a broken sofa, a mottled coffee table, malfunctioning televisions, and AI-generated gazes that never actually occurred, created from old photographs. https://freight.cargo.site/t/original/i/L2568637376989987479568301422405/talking-to-him-2.mov https://freight.cargo.site/t/original/i/G2568637376971540735494591870789/talking-to-him-1.mov https://freight.cargo.site/t/original/i/K2568637376934647247347172767557/2025-09-25-16.27.46.png https://freight.cargo.site/t/original/i/M2568637376953093991420882319173/2025-09-25-16.28.07.png https://irisawesome.com/emanon(2025) 2025-12-30T15:41:06+00:00 always 0.5 https://freight.cargo.site/t/original/i/J2568648246715486168847881598789/Zhang-IrisLingyu_Painting_EMANON-2.JPG https://freight.cargo.site/t/original/i/C2568648246291211055152561911621/Always-look-into-my-eyes.jpg Always look into my eyes. https://freight.cargo.site/t/original/i/N2568648246346551287373690566469/Do-seahorses-bleed-when-they-mate.jpg Do seahorses bleed when they mate. https://freight.cargo.site/t/original/i/B2568648246328104543299981014853/Destined-to-dissipate.jpg Destined to dissipate. https://freight.cargo.site/t/original/i/B2568648246401891519594819221317/I-dripped-blood-into-the-fish-tank.jpg I dripped blood into the fish tank. https://freight.cargo.site/t/original/i/O2568648246383444775521109669701/Hug-me.jpg Hug me. https://freight.cargo.site/t/original/i/W2568648246660145936626752943941/Tomatoes-are-also-butts.jpg Tomatoes are also butts. https://freight.cargo.site/t/original/i/S2568648246678592680700462495557/When-I-was-6-years-old--I-dreamed-of-a-blue-vortex..jpg When I was 6 years old, I dreamed of a blue vortex. https://freight.cargo.site/t/original/i/N2568648246623252448479333840709/Lizards-and-water-plants-in-my-brain.jpg Lizards and water plants in my brain. https://freight.cargo.site/t/original/i/U2568648246309657799226271463237/Brain-slices.jpg Brain slices. https://freight.cargo.site/t/original/i/L2568648246641699192553043392325/my-inside-is-full-of-jellyfishes.jpg My inside is full of jellyfishes. https://freight.cargo.site/t/original/i/M2568648246697039424774172047173/Zhang-IrisLingyu_Painting_EMANON-1.JPG https://freight.cargo.site/t/original/i/C2568648246604805704405624289093/IMG_1942.JPG https://freight.cargo.site/t/original/i/X2568648246364998031447400118085/Don-t-Kiss-My-Mind-Worm.jpg Don't Kiss My Mind Worm https://irisawesome.com/traces-set-pc 2025-09-25T18:30:30+00:00 always 0.5 https://irisawesome.com/traces-‘free-assemblage-making’-as-a-method-to-touch-self-narrative(2023-2024) 2026-01-23T13:20:10+00:00 always 0.5 https://freight.cargo.site/t/original/i/P2031791930032739403583499532101/IMG_3854-2.jpg <h1>Be broken</h1> working with digital elements, textile and sound, free assemblage making in digital world, situation of the paradox that self-narrative held showing 'Stairway corridor is often a transitional space, a space that does not stay too long. It makes it seem as if one is in a perpetual state of waiting, not knowing when there will be a turnaround and the end is uncertain. It is like the childhood process of being lost or left behind in an unfamiliar environment waiting for one's parents to come back, when the strangers in one's eyes do not offer any help. It triggers some adults' deep-seated empathy with the lack of love and care in their childhood, and their sense of dislocation towards the environment through the surreal way of creation. This kind of empathy is no longer possible to reproduce in reality, but will bring a sense of peace of mind like reading a book inside a house on a rainy day.' https://freight.cargo.site/t/original/i/P2031791929977399171362370877253/1.jpg 'Free-assemblage making' is an innovative term that I created during the research journey, which was for differentiating my interdisciplinary method from traditional assemblage, collage, and digital world-building. Free-assemblage-making allows artists to decompose and reconstruct original objects subconsciously in any dimension, free from the structures and considerations of art practice that already have. After the process of choosing, placing, and making, it goes to use autobiographical reasoning afterward to analyze the choices they made in the process. By matching previous emotions or stories with the outcomes from the making process, the structure of the self-narrative will be touched, and old memories held in objects raised. https://freight.cargo.site/t/original/i/B2031823173670558670998972135237/Iris_The_tent_04.png <a href="the-tent" rel="history">The tent (2024), Experiment 5.2, heat pressing transparent textile, collage</a> 'I’m in a in-between world, formed from the weird graphics and my words. I’m walking in the city, but can’t see. Where am I going, and what for. I’m listening to the sound, from my tent, from my space, from my mind. I’m in the tent, I’m with the tent, I am the tent. Please be curious of what I am, I don’t know what I am, You say what I am. Who are you? It doesn’t matter anymore, I can’t see you anyways.' https://freight.cargo.site/t/original/i/B2031945089843902039985752373061/IMG_3588-.jpg <a href="sleeping-in-the-wood" rel="history">Sleeping in wood(2024), Experiment 2.3, 200*200cm, installation, objects from my past, assemblage sculptures, video</a> 'I am attempting some kind of rescue operation, trying to restore things to their former integrity and former status, to bring myself back to the space of the past. In that space, I don't hear the ghastly noises of my family, and I don't have to deal with all the disturbing emotions I've encountered out there and in men. I digested and healed on my own, and I was safe with myself. Those needs of yesteryear: unconditional love, the desire for sex and ultimately the intimate space they constitute, condense in this one object. Those confusions that I didn't understand in my youth become clear in the present day. At the beginning of my adolescence, when the self-narrative was budding, the process of objectification of the female self manifested itself in one decorative kitschy trinket. My stuffed animals that were my only companions during my restless and chaotic adolescence, silently providing unconditional listening, also appear in this one package.' 'Here, I finally understood, I finally saw. In the vast gaps of my self-narrative were my constant attempts to distance myself from my environment, my attempts to desire the impotence of being desired. It was the restlessness I kept feeling in my mind at work, my need to be safe, safer. I needed stable connection, more stable connection. In a large void, all the attempts I made driven by this force created a disconnect with my overall emotions, which leads to a very sad speculation: Maybe all the attempts I've made in the past have been useless.' https://freight.cargo.site/t/original/i/B2032009258872304286769099306821/IMG_3374-.jpg <a href="won't-u-remember-me" rel="history">Won’t you remember me, 2024, Experiment 4.1, A3 printed 2-sides leaflet, free-assemblage making, graphic manipulation with urban traces and asemic writing</a> https://freight.cargo.site/t/original/i/U2032031607361004002922815813445/2024-10-24-00.02.36.png This study, which combines art practice and autoethnography, began by addressing the sense of alienation and dislocation between international students and first-generation female immigrants as a result of dramatic environmental change. The research by practice combines psychology and psychoanalysis, invoking the framework of self-continuity and the concept of self-narrative. A written and visual, sculptural practice of 'free-assemblage making,' explores the materiality of traces as elements that speak of the fragmentation and discontinuity of cultural and environmental displacement and dislocation. Key writers and makers drawn upon include Sedikides with self-continuity, Steyerl with materiality, Lic Rodrigo B with Lacon's theory, Tracey Emin with feminist installations and Hew Locke with found objects sculptures. The research explores how might we use 'free-assemblage making' to represent as well as analyse psychoanalytically, poetically and visually the ideas of self- continuity and self narrative, and the paradoxes they hold. https://freight.cargo.site/t/original/i/Z2042608436748563007402101962565/2024-06-27-14.41.39.png This study, which combines art practice and autoethnography, began by addressing the sense of alienation and dislocation between international students and first-generation female immigrants as a result of dramatic environmental change. The research by practice combines psychology and psychoanalysis, invoking the framework of self-continuity and the concept of self-narrative. A written and visual, sculptural practice of 'free-assemblage making,' explores the materiality of traces as elements that speak of the fragmentation and discontinuity of cultural and environmental displacement and dislocation. Key writers and makers drawn upon include Sedikides with self-continuity, Steyerl with materiality, Lic Rodrigo B with Lacon's theory, Tracey Emin with feminist installations and Hew Locke with found objects sculptures. The research explores how might we use 'free-assemblage making' to represent as well as analyse psychoanalytically, poetically and visually the ideas of self- continuity and self narrative, and the paradoxes they hold. https://freight.cargo.site/t/original/i/B2042610006640270656379782690629/IMG_3424.JPG <a href="https://freight.cargo.site/m/P2242194194249794272015742662469/.pdf" style="--font-scale: 1.59;" target="_blank">Full paper here</a> https://freight.cargo.site/t/original/i/U2042611457919413911405046527813/1.jpg The Sun (2023), Experiment 1.3, illustration sketch, with acrylic on plastic sheet https://freight.cargo.site/t/original/i/W2042611457864073679183917872965/2.jpg The Monument (2023), Experiment 1.2, sculpture, 20*20cm, with found objects https://freight.cargo.site/t/original/i/V2042611457900967167331336976197/3.jpg The Net (2023), Experiment 1.1, sculpture, 30*30cm, with found objects https://freight.cargo.site/t/original/i/D2042613270404252873737040557893/8.jpg <h1>Be touched</h1> working with objects from my past, free assemblage making in physical world, and touching self-narrative with making and writing “I'm sitting in my house at a table by the window. Despite the large window, most of the time, day or night, the sun does not shine into my room. As I sit here alone, I am surrounded by warm yellow light, enveloped in it, and my vision is warm, even though my body doesn't feel the warmth.. There was no sound in all directions and I could hear myself breathing. My breath connected with them. Then I felt them with me, quickly forming a larger net that connected me to others and, by extension, to everyone in the world. I didn't know them, I'd never met them.…I sit alone in the house, and I am not alone…” https://freight.cargo.site/t/original/i/J2042614881450646551160730941253/2024-04-16-16.28.46.png <h1>Be filled</h1> working with urban traces and asemic writing, free assemblage making in graphical world, observing dating life to see whether the gap in self-narrative been filled “Let me build you up, they said, I love you like crazy. A crowd of strangers rushed to my side and lifted me high in the air. We will die, they said, and together we will forge a golden bronze statue that exists only for you. They leapt up in a frenzy, one on top of the other, gradually turning into a small mountain. Some cut off their own arms and stuck their bloodied arms into the mountain; others gouged out their eyes and filled the gaps in the mountain. Slowly the hill took the shape of a snowman, and it swayed as if it would collapse at any moment. I lay down on it and looked at the sky, which had never felt so blue. Little by little, I melted into the hill. They became my blood. The new blood gave me strength and I ran to the top of the hill and turned into ashes under the sun.” https://freight.cargo.site/t/original/i/N2042617383880607358377374512965/-1.png <a href="will-u-remember-me" rel="history">Will you remember me,2024,, Experiment 4.2, A5 handmade book, free-assemblage making, graphic manipulation with urban traces and asemic writing </a> 'I think of grasping, I always want to grasp. I always default to others in my favour and surround me only, I am the subject, they are the object. They become the substrate that fulfils my fragile dreams. Then the illusions break, one after the other, and the dreams gradually collapse, and I see behind the tattered curtains, remnants of a world in motion. In my dream world they are static, they are symbols, shapes, geometries of perception. I use the language they give me to explain me, to explain my world. When I don't need these symbols very much for construction, when the symbols I already have are enough to hold up the dream. At that point, new symbols will no longer intervene and the dream will be stable forever.' https://irisawesome.com/the-tent(2024) 2025-09-25T18:30:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/P2031791930032739403583499532101/IMG_3854-2.jpg The artist conducted a long-term third-perspective observation of her own dating life, integrating emotions into intimate spaces through poetic graphic narrative. https://freight.cargo.site/t/original/i/H2031791930014292659509789980485/-1.jpg https://freight.cargo.site/t/original/i/K2031791929995845915436080428869/2.jpg https://freight.cargo.site/t/original/i/P2031791929977399171362370877253/1.jpg The tent, as part of the artist's body, becomes a daydream made of the body, but covering it, where the visible and the invisible happen simultaneously, interpreting the situation of the divided female subject. She exists in the city, she disappears in the city. It is grotesque and must be interpreted by others. https://freight.cargo.site/t/original/i/T2031798287352596270179982505797/IMG_3868-.jpg The Tent is a research-based multimedia artwork, based on the third part of the research thesis <a href="traces-‘free-assemblage-making’-as-a-method-to-touch-self-narrative(2023-2024)" rel="history">Traces: ‘’Free-assemblage making’ as a method to touch self-narrative</a>, that uses autoethnographic methodology. It addresses the struggle of female subjectivity against the ‘Big Other’ in the context of cultural colonialism and sexualisation. https://freight.cargo.site/t/original/i/I2031820237815899107902703793989/The Tent (2024) Using the method of integration in self-archiving and invoking psychoanalytic theories to parse the textual graphics, the artist attempts to find a connection between the environment and herself, thus removing the sense of dislocation and alienation caused by the dramatic environmental change. https://freight.cargo.site/t/original/i/Z2031823173633665182851553032005/2024-06-05-18.01.48-.jpg In the process, the self-narrative paradox of hysterical discourse is revealed. The emotional stories symbolised by the structure are built into the in-between world. It actively interprets both the intimate space and the individual, isolating the individual from the environment, but at the same time reconstituting a new way of connecting the individual to the environment. https://freight.cargo.site/t/original/i/H2031823173652111926925262583621/Iris_The_tent_03.jpg https://freight.cargo.site/t/original/i/B2031823173670558670998972135237/Iris_The_tent_04.png https://freight.cargo.site/t/original/i/Q2031823173615218438777843480389/2024-06-05-18.00.38-.jpg https://freight.cargo.site/t/original/i/A2031902735104937878801216698181/IMG_3834-.jpg https://freight.cargo.site/t/original/i/W2031902735086491134727507146565/IMG_3728-.jpg https://freight.cargo.site/t/original/i/E2031908946879984003829337421637/2024-06-27-14.49.04.png https://freight.cargo.site/t/original/i/G2031971127792096962492049389381/-1-100.jpg https://freight.cargo.site/t/original/i/H2039871117293468778659626350405/111.jpg The Tent is a research-based multimedia artwork, based on the third part of the research thesis <a href="traces-‘free-assemblage-making’-as-a-method-to-touch-self-narrative(2023-2024)" rel="history">Traces: ‘’Free-assemblage making’ as a method to touch self-narrative</a>, that uses autoethnographic methodology. It addresses the struggle of female subjectivity against the ‘Big Other’ in the context of cultural colonialism and sexualisation. https://irisawesome.com/sleeping-in-the-wood(2023-2024) 2025-09-25T18:30:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/T2031944740886844397622164453189/IMG_1157.JPG https://freight.cargo.site/t/original/i/T2031944740794610677253616695109/IMG_9495.jpg Sleeping in the Wood is a mixed media work combining performance, sculpture, and video. It is based on the first part of the research <a href="traces-‘free-assemblage-making’-as-a-method-to-touch-self-narrative(2023-2024)" rel="history">Traces: ‘Free-assemblage making’ as a method to touch self-narrative</a>, exploring the materiality of old objects and the potential of crafting to condense and overlap the historicity and storytelling of intimate spaces. https://freight.cargo.site/t/original/i/G2031944740739270445032488040261/IMG_1156.JPG https://freight.cargo.site/t/original/i/D2031944740757717189106197591877/IMG_1160.JPG At this point, the sphere that fuses past emotional stories and intimate space becomes part of the present environment, serving as the constant amidst change. As a result, the environment and space lose their importance. The artist rests within it, whether in the past or the future, now or elsewhere. https://freight.cargo.site/t/original/i/W2031944740831504165401035798341/IMG_9491.JPG https://freight.cargo.site/t/original/i/D2031945089880795528133171476293/IMG_3620-.jpg In this experiment, the hidden explorations of a young girl toward the world—found within the kitschy, shiny, and time-specific objects of adolescence—are deciphered and overlapped with an ancient bedroom space, evoking a return to the protective enclosure within a chaotic familial environment. The stories buried within these spaces are unearthed, reinterpreted, and re-understood by the artist, ultimately touching upon a chaotic system of self-narrative. https://freight.cargo.site/t/original/i/B2031945089843902039985752373061/IMG_3588-.jpg “This one ball of concentrated past memories noisily screamed of the unconditional love I would never get and the desire to keep filling it. In the vast gaps of my self-narrative were my constant attempts to distance myself from my environment, my attempts to desire the impotence of being desired. It was the restlessness I kept feeling in my mind at work, my need to be safe, safer. I needed stable connection, more stable connection. In a large void, all the attempts I made driven by this force created a disconnect with my overall emotions, which leads to a very sad speculation: Maybe all the attempts I've made in the past have been useless.” https://freight.cargo.site/t/original/i/J2031945089862348784059461924677/IMG_3609-.jpg https://freight.cargo.site/t/original/i/Y2031966964066811621066896832325/balls https://irisawesome.com/will-u-remember-me(2024) 2025-09-25T18:30:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/S2031973157136859255353532217157/-12-.jpg https://freight.cargo.site/t/original/i/N2031973157099965767206113113925/-1-.jpg https://freight.cargo.site/t/original/i/N2031973157081519023132403562309/-.jpg https://freight.cargo.site/t/original/i/C2031973157229092975722079975237/.png https://freight.cargo.site/t/original/i/T2031973157192199487574660872005/-14.jpg They leapt up in a frenzy, one on top of the other, gradually becoming a small mountain. Someone cut off his own arm and stuck his bloodied arm into the hill, and slowly that hill turned into the shape of a snowman. I lay on the hill and looked at the sky, which never felt so blue. Little by little, I melted into the hill. They became my blood. The new blood gave me strength. I ran to the top of the hill and turned into ashes under the sun. https://freight.cargo.site/t/original/i/A2031973592885847764520560490309/IMG_3336-.jpg Let me build you up, they said, I love you like crazy A crowd of strangers rushed to my side and lifted me high in the air. I will die, they say, cast into a golden bronze statue that exists only for you. https://freight.cargo.site/t/original/i/F2031973592996528228962817800005/IMG_3342-.jpg https://freight.cargo.site/t/original/i/H2031973592904294508594270041925/IMG_3337-.jpg https://freight.cargo.site/t/original/i/S2031973592848954276373141387077/IMG_3334-.jpg The artist employs asemic writing and graphic manipulation in an attempt to internalise fleeting emotions and memories into the urban traces, thereby attempting to fill the gaps in self-narrative caused by the dramatic environmental changes. The project touches on the tragic logical paradoxes in self-narrative that have finally been discovered. https://freight.cargo.site/t/original/i/S2031973592978081484889108248389/IMG_3341-.jpg https://freight.cargo.site/t/original/i/P2031973592941187996741689145157/IMG_3339-.jpg https://freight.cargo.site/t/original/i/G2031973592830507532299431835461/IMG_3333-.jpg ‘I’ve been thinking, is these all real, or just a day dream?’ https://freight.cargo.site/t/original/i/G2031973592867401020446850938693/IMG_3335-.jpg Will you remember me is an graphic design project, which as an archive of the second part of the research thesis <a href="traces-‘free-assemblage-making’-as-a-method-to-touch-self-narrative(2023-2024)" rel="history">Traces: ‘Free-assemblage making’ as a method to touch self-narrative</a>, offers a third perspective on the artist's romantic trajectory through retrospective writing. https://freight.cargo.site/t/original/i/T2031973592756720556004593628997/IMG_3332-.jpg https://freight.cargo.site/t/original/i/K2031974257927865109897315350341/-3-100-2.jpg https://freight.cargo.site/t/original/i/W2031974257946311853971024901957/-4-100-2.jpg https://irisawesome.com/won't-u-remember-me(2024) 2025-12-30T14:47:29+00:00 always 0.5 https://freight.cargo.site/t/original/i/M2032008116373210081568019969861/2024-2-28-00.26.JPG ‘I finally see it. I am, after all, still drawn to that void in desire this desire to be desired. It couldn't help but grieve me, as if it was like a vortex from which there was no escape, and at the centre of which was always the man. ‘ https://freight.cargo.site/t/original/i/U2032008116483890546010277279557/2024-2-28-12.51.JPG https://freight.cargo.site/t/original/i/E2032008243932445351269569394501/111.png https://freight.cargo.site/t/original/i/B2032008875807216852116550448965/2024-06-27-15.44.36.png Won’t you remember me is an graphic design project, which as an archive of the second part of the research thesis <a href="traces-‘free-assemblage-making’-as-a-method-to-touch-self-narrative(2023-2024)" rel="history">Traces: ‘Free-assemblage making’ as a method to touch self-narrative</a>, which offers a third perspective on the artist's romantic trajectory through retrospective writing. https://freight.cargo.site/t/original/i/H2032008875788770108042840897349/2024-06-27-15.44.45.png ‘The road I was roaming on turned into my dating route in an instant, like a prophecy or a curse. Even after all the efforts, even if the old things become traces of the city, and the old bedroom becomes London, the kernel is still the thirst and desire for unconditional love in the unchanging void. The scale of the space in which the story takes place is enlarged, and my relationship with the city is unconsciously brought closer through the constant desire to fill the void.‘ https://freight.cargo.site/t/original/i/Q2032008875678089643600583587653/2024-06-27-15.45.02.png The artist employs graphic design and the structure of folded pages to rethink the possibilities of non-linear narratives in two-dimensional space, demonstrating the versatility of flat printed matter. In the moments where memory and urban trace merge, fragmented emotions construct a safe space, forming eerie and unrealistic dream modules. https://freight.cargo.site/t/original/i/Y2032008875770323363969131345733/2024-06-27-15.44.54.png https://freight.cargo.site/t/original/i/U2032009258890751030842808858437/IMG_3404-.jpg https://freight.cargo.site/t/original/i/L2032009258982984751211356616517/IMG_3411-.png https://freight.cargo.site/t/original/i/K2032009258927644518990227961669/IMG_3406-.jpg https://freight.cargo.site/t/original/i/B2032009258872304286769099306821/IMG_3374-.jpg https://freight.cargo.site/t/original/i/W2032009258964538007137647064901/IMG_3408-.jpg https://freight.cargo.site/t/original/i/M2032023681016436458813001037637/dolphin.png https://freight.cargo.site/t/original/i/U2032031607361004002922815813445/2024-10-24-00.02.36.png https://irisawesome.com/polyhedron-set-pc 2025-09-25T18:30:30+00:00 always 0.5 https://irisawesome.com/polyhedron-exploring-the-fluid-interplay-between-self,-identity,-and-environment(2022-2023) 2025-09-25T18:30:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/I2033192462441302070902774822725/No219_Lingyuzhang_2.jpg <a href="no-219" rel="history">No.219 (2023), Digital Collages printed on canvas, 100*77cm, with Symbols, Gestures, Containers, Flowers, and Me</a> <h1>No.219: Collage Printed with Neglected Self-Value</h1> The question of "Who am I?" seems eternal, presenting individual variability and providing a microscopic view of the world. An individual's multifaceted identity is expressed through changes in their social groups. However, when one's sense of self fails to form, frequent shifts in identity can lead to the dissolution of the subject. "I have habitually neglected my self-worth and lack the ability to assess it," says the artist. This stems from an education system designed to suppress individuality and promote collectivization. Rooted in China’s unique socio-political context and influenced by Soviet historical and ideological dissemination, this education is a product of the times, not an endeavor aimed at promoting human development. https://freight.cargo.site/t/original/i/I2033192613243434873478359283525/ra1.jpg In different groups, I embody different identities and manifest varied personas. When these groups intersect, a new, fused identity emerges. The fragmentation of identity leads to difficulties in transitioning between identities, both synchronously and across different stages. This phenomenon is described as Self-Categorization (Social Identity) (Erikson, 1968; Marcia, 1980). We acquire multiple identities within different groups, each contributing to how we define ourselves within these social contexts. These identities may conflict with or integrate into our self-definition, making the fragmentation, confusion, and difficulty in transitioning between identities inevitable. https://freight.cargo.site/t/original/i/G2033209125145416179782525384517/No.9719.png <a href="no-9719-no-1202-no-2202-no-1520" rel="history">No.9719 (2022), Sculpture 20*20*20cm </a>with Dried flowers, Hardwares, Discarded objects, Slime, Clay, Spray The principles of compulsory education were discussed in Project No.219, and here the dichotomy between the learning patterns before high school and those of higher education is highlighted. The rapid expansion and massification of education have led to a disregard for the individual, focusing solely on the goal of higher education democratization. As a result, the confusion post-achievement and the division between two student identities become sources of pain associated with multi-layered identities. From within, the purpose of the education I received was to strip away individuality and lead one towards collectivism. In this process, the habit and concept of self-reflection were taken away, leading to an ingrained tendency to act according to others' instructions and goals. This deprivation of self was willingly accepted, and even emotionally justified, as a form of self-sacrifice. https://freight.cargo.site/t/original/i/L2033252231404733903894193895237/_X7A4687.JPG <a href="no-1" rel="history">No.-1 (2022), Installation prototype 50*50*50cm, with Dried flowers, Hardwares, Discarded objects, Slime, Clay, Spray</a> <h1>No.-1: Self-Sacrifice and Collective Integration</h1> I discovered that there seem to be invisible strings binding us together—strings that, in essence, reflect our silent compromises. These compromises manifest as subconscious compulsive behaviors aimed at maintaining an individual’s social identity within a group. Such relationships are built on the suppression or sacrifice of self, resulting in a choice to sacrifice when self-identity conflicts with social identity, under the belief that it maintains "peace," secures acceptance, and thus holds value. https://freight.cargo.site/t/original/i/A2033354993180007407683539040069/Pngtreefresh-red-apple-on-transparent_5738625.png Polyhedron tells the long journey of alienation and self-reconstruction experienced by the artist as a woman growing up under the dogma of East Asian culture. This self-portrait-like project rethinks materiality and the journey of objects, conducting a series of experiments, reflections, and critiques on the alienation of female identity within a multi-dimensional space of artistic expression, and re-examining the complex relationship between individual female identity and East Asian society. https://freight.cargo.site/t/original/i/A2033355583180669861209837926213/-3.png The remnants of flowers and hardware fittings from furniture consumption serve as metaphors for the tragic conclusion of the exploitation and domestication of women within the collective, revealing the suppression and exclusion of personal subjectivity in East Asian society. After extensive research and practice, the sorrowful paradox of individual and collective coexistence, as well as the rigidity of institutional and dogmatic structures, is ruthlessly exposed through symbolic representation. https://freight.cargo.site/t/original/i/C2033358891954707618418401736517/4-.png The artist perceives herself as a container, a symbolized vessel, a medium, or as continuously becoming a medium—a cyborg matrix. Individual identity constantly dissolves and evolves in the flow, suggesting that absolute individual identity does not exist. https://freight.cargo.site/t/original/i/H2033358891936260874344692184901/8-.png Key writers and makers drawn upon include EL Anatsui, Ebony.G.Patterson and Anya Galaaccio with materiality, Cornelia Parker and Nick Cave with momentary caption, Forsyth, Donelson R with individual and group research, and education and individualist history in China. https://freight.cargo.site/t/original/i/W2033361481047472083922518800197/1.png https://freight.cargo.site/t/original/i/C2033363928819730200737760933701/_X7A4941.JPG In Chinese society, this mindset is partly rooted in the education system, which emphasizes "sacrificing the small self for the greater self," and partly from family teachings where parents instill similar values during upbringing. Many parents themselves embody these traits, perpetuating unhealthy psychological behaviors and thoughts that have been passed down through tradition. Internally, we are bound by the satisfaction of self-sacrifice, stemming from the generational transmission of traditional Chinese values and the societal promotion of heroism. Externally, we are constrained by "responsibility," which is derived from our innate human need to align with group-assigned roles for survival—meeting our needs for connection, safety, and emotional fulfillment. Thus, it can be concluded that we exist symbiotically with the group. As long as survival is the aim, absolute individuality and self cannot exist. https://freight.cargo.site/t/original/i/O2033421518447923677535332988741/No.1520.png <a href="no-9719-no-1202-no-2202-no-1520" rel="history">No.1520 (2022), Sculpture 20*20*20cm </a>with Dried flowers, Hardwares, Discarded objects, Slime, Clay, Spray<h1> No.9719 No.1202 No.2202 No.1520: De-individualization and the Imposition of Attributes</h1> https://freight.cargo.site/t/original/i/Z2039876192269464617262919186245/44-.png Key writers and makers drawn upon include EL Anatsui, Ebony.G.Patterson and Anya Galaaccio with materiality, Cornelia Parker and Nick Cave with momentary caption, Forsyth, Donelson R with individual and group research, and education and individualist history in China. https://irisawesome.com/no-219(2023) 2025-09-25T18:30:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/U2033192462496642303123903477573/-2.png https://freight.cargo.site/t/original/i/I2033192462441302070902774822725/No219_Lingyuzhang_2.jpg The artist reconstructs images using containers, frames, flowers, and gestures, connecting them through symbolic language. By employing a crystalline geometric approach, she forms a spiritual matrix—a cyborg-like embodiment—representing the fragmented and reshaped identity. Through a surrealist technique, the artist deifies the fractured subject, transforming it into a distant, enigmatic, and unapproachable new self-identity, creating a sense of alienation from the original self. https://freight.cargo.site/t/original/i/L2033192462478195559050193925957/-21.png https://freight.cargo.site/t/original/i/C2033192462459748814976484374341/No.219_Lingyuzhang_1.jpg No.219 is a diptych digital collage rooted in the research project <a href="polyhedron-exploring-the-fluid-interplay-between-self,-identity,-and-environment(2022-2023)" rel="history">Polyhedron: Exploring the Fluid Interplay Between Self, Identity, and Environment.</a> It draws from the artist's personal experience of confronting and severing her own identity, depicting the repression and pain faced by women born in the 1990s within the constraints of East Asian culture. The work explores the subsequent alienation of their spiritual selves after prolonged exploitation by cultural dogma. https://freight.cargo.site/t/original/i/E2033192613261881617552068835141/ra2.jpg https://freight.cargo.site/t/original/i/I2033192613243434873478359283525/ra1.jpg https://irisawesome.com/no-9719-no-1202-no-2202-no-1520(2022) 2025-12-30T14:47:29+00:00 always 0.5 https://freight.cargo.site/t/original/i/O2033209125090075947561396729669/No.1202.png No.1202 The work not only investigates the fluid nature of identity but also emphasizes the cyclical process of merging and evolving within the collective environment. The artist reinterprets these objects in a surrealist manner, transforming fragmented pieces of self into distant, unfamiliar representations, further illustrating the alienation from one’s own identity. No.9719 No.1202 No.2202 No.1520 offers an intricate, material-based perspective on the paradox of self and collective identity, inviting viewers to reflect on the intersection of personal and cultural narratives within the sculptural realm. https://freight.cargo.site/t/original/i/K2033209125126969435708815832901/No.2202.png No.2202 No.9719 No.1202 No.2202 No.1520 is a sculptural work that extends the exploration of identity, derived from the artist’s project <a href="polyhedron-exploring-the-fluid-interplay-between-self,-identity,-and-environment(2022-2023)" rel="history">Polyhedron: Exploring the Fluid Interplay Between Self, Identity, and Environment</a>. This quadriptych utilizes dried flowers, hardware, and discarded objects as primary materials, reflecting on the fragmentation and reconstruction of self-identity. this work addresses the repression and alienation experienced by women born in the 1990s under the dogma of East Asian culture. Through the use of symbolic and discarded objects, the artist critiques the suppression and erosion of individual subjectivity imposed by societal norms. The sculptural practice becomes a medium to uncover and re-examine the entanglement between the individual and the collective. https://freight.cargo.site/t/original/i/Y2033209125108522691635106281285/No.1520.png No.1520 https://freight.cargo.site/t/original/i/G2033209125145416179782525384517/No.9719.png No.9719 By integrating the remnants of flowers and everyday hardware, the artist symbolizes the commodification and domestication of female identity, questioning how personal narratives are shaped and reshaped within the constraints of culture and societal expectations. Using these objects, she constructs a multi-dimensional space where the boundaries between the self and environment blur, echoing the artist’s journey of self-discovery and transformation. https://freight.cargo.site/t/original/i/F2039874677699542445340183754565/No.9719-.png No.9719 By integrating the remnants of flowers and everyday hardware, the artist symbolizes the commodification and domestication of female identity, questioning how personal narratives are shaped and reshaped within the constraints of culture and societal expectations. Using these objects, she constructs a multi-dimensional space where the boundaries between the self and environment blur, echoing the artist’s journey of self-discovery and transformation. https://irisawesome.com/no-1(2022) 2025-09-25T18:30:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/M2033246568014495602103623612229/-1-100.jpg https://freight.cargo.site/t/original/i/Q2033246568051389090251042715461/_X7A5003.JPG No.-1 is an installation prototype within <a href="polyhedron-exploring-the-fluid-interplay-between-self,-identity,-and-environment(2022-2023)" rel="history">Polyhedron: Exploring the Fluid Interplay Between Self, Identity, and Environment</a>, exploring the fluid and cyclical nature of identity through a dynamic sculptural form. This work represents the past, present, and future self of the artist, as well as the experiences of women shaped by the same cultural and educational dogma. It reflects on the process by which education empties individuals, transforming them into vessels that are then blindly absorbed into groups and new spaces. https://freight.cargo.site/t/original/i/C2033250011578892305907881080645/2024-06-16-21.02.31.png The installation invites the audience to observe the interaction between the subject and the environment, showcasing the dynamic process of identity formation and transformation. As the subject gradually melts and is reshaped by its surroundings, the work reveals the intricate ecology and interaction between individuals and groups. The self fades into the environment, becoming an integral part of it—some aspects of the self remain, others merge with the surroundings, and elements of the environment become part of the self. This constant exchange symbolizes a fragment of identity, waiting to be melted and reshaped again. By emphasizing the fluidity of identity within the socio-cultural context, No.-1 presents a living and evolving prototype, challenging viewers to reflect on the ongoing process of self-reconstruction and adaptation within the constraints of culture and societal expectations. https://freight.cargo.site/t/original/i/L2033252231404733903894193895237/_X7A4687.JPG In No.-1, the subject melts into the environment, becoming intertwined with and reshaped by it. This symbiotic relationship illustrates how identity is continuously molded by external forces, resulting in new versions of the self. The petals incorporated into the body symbolize the continual integration of elements from the environment, emphasizing the perpetual cycle of melting, remolding, and evolving, both in the present and into the future. https://irisawesome.com/into-domain-set-pc 2025-09-25T18:30:30+00:00 always 0.5 https://irisawesome.com/csi；’‘’‘’‘’‘；’；；；‘’；‘；(2023) 2025-09-25T18:30:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/K2036577845087774376359773861701/-1.png https://freight.cargo.site/t/original/i/Z2036577845180008096728321619781/-4.png CSI is an experimental video work that imagines a future where every sip of water is scrutinized, which based on the short novel SI (Iris Lingyu Zhang,2023). The system, using advanced behavioral detection technologies, categorizes individual drinking habits into safe, suspicious, or dangerous patterns based on data analysis. It creates a narrative in which the simple act of drinking from a cup becomes a key point of surveillance—a metaphor for how capitalist systems in consumer societies analyze and interpret the behaviors of targeted groups. Just as corporations use algorithms to track consumer choices, CSI envisions a world where personal consumption is constantly watched, ranked, and judged. https://freight.cargo.site/t/original/i/F2036580604554667106645309650757/2024-01-05-14.20.05.png https://freight.cargo.site/t/original/i/O2036580604443986642203052341061/2024-01-05-14.18.57.png https://freight.cargo.site/t/original/i/W2036580604480880130350471444293/2024-01-05-14.19.14.png https://freight.cargo.site/t/original/i/D2036580604591560594792728753989/2024-01-05-14.20.28.png https://freight.cargo.site/t/original/i/I2036580604573113850719019202373/2024-01-05-14.20.21.png https://freight.cargo.site/t/original/i/D2036580604314859433687085479749/2024-01-05-14.24.25.png This work critiques how surveillance systems and capitalist interests encroach on everyday life, suggesting that people, under such scrutiny, may feel compelled to conform to “safe” patterns of behavior to avoid being reported. In this speculative future, individuals control their drinking habits to align with what the system deems acceptable, further illustrating how societal norms are dictated by the interplay of surveillance and authority. CSI reflects on how capitalist power dynamics invisibly manipulate personal choices in the name of safety and security. https://freight.cargo.site/t/original/i/T2036580604370199665908214134597/2024-01-05-14.12.35.png Through a color-coded alert system, CSI categorizes behavior into three levels: green for normal patterns, yellow for behaviors that require further observation, and red for significant deviations that trigger reports to authorities. This algorithmic oversight of individual consumption highlights the growing power of surveillance in shaping and controlling personal habits. https://freight.cargo.site/t/original/i/H2036580604277965945539666376517/2024-01-05-14.19.28.png https://freight.cargo.site/t/original/i/S2036580604665347571087566960453/2024-01-05-14.24.46.png https://freight.cargo.site/t/original/i/I2036580604702241059234986063685/2024-01-05-14.25.17.png https://freight.cargo.site/t/original/i/Q2036580604610007338866438305605/2024-01-05-14.24.08.png https://freight.cargo.site/t/original/i/E2036580604536220362571600099141/2024-01-05-14.19.59.png SI (Iris Lingyu Zhang,2023) In the year 2130, AI has evolved into a highly autonomous information integration tool capable of complete self-iteration. Amid ongoing debates about relinquishing individual privacy for public safety and freedom, a new type of SI (Surveillant intelligent) has addressed this major challenge. SI employs highly iterative Seed code to encrypt citizen data and information, ensuring that no one can access any data regarding the surveillance of citizens. This revolution has reassured many skeptics. SI holds camera permissions for all electronic devices, overseeing the daily activities of all citizens. Through intensive observation and analysis, it identifies individual behavior routines. Based on behavior analysis theory (attitude, cognition, and behavior—interactions between individuals and groups), SI accurately reports unusual behaviors without any false alarms, collaborating with public security agencies to achieve public deterrence, crime supervision, and assistance in solving cases. When an alert is generated, SI observes to confirm whether the behavior has a collective impact or constitutes a sustained change. If the behavior is deemed an isolated incident, SI proceeds to the second step of data sample analysis, searching for matching patterns in large databases of daily behaviors and criminal samples to determine the nature of the event. If the behavior is defined as a potential criminal act or victimization, SI reports it to the public security agencies for further investigation. This disruptive technological development has transformed the world of criminal investigation. While debates persist about the feasibility of relinquishing freedom to artificial intelligence, the final result of a public vote indicates that 74% of the population agrees with this resolution. As an independent detective under the public security department, you experienced the first shock in your work. It seemed like layoffs might be imminent for you. However, your concerns quickly vanished—approximately three months after the enactment of the law, you received an assignment from SI to assist in investigating a missing person case: An employee who has never been absent from work suddenly missed five consecutive days, and it continues. SI reported as follows: ::: The monitored individual has never shown any signs of tardiness, early departure, or absenteeism. No evidence of collective behavioral influences was found, and the social circle remains stable. Determined to be an isolated incident, further analysis is underway. ::: ::: Out of 1,839,231 absenteeism samples, various reasons such as traffic accidents, running away from home, and social escape were identified, but no corresponding clues were found in the monitored samples of the individual. Analysis of 209,319 screened criminal samples suggests a probable classification as a missing person case, with no recent surveillance evidence related to criminal activities. ::: ::: It is judged to be related to missing person crimes. Please assist in the investigation. ::: First, you visited the residence of the monitored person and were shocked to find the room immaculately clean, with no signs of anyone visiting after the person went missing. Could the monitored person have cleaned the room themselves before leaving? You pondered. But why didn't SI detect any travel trajectory of the monitored person? Confused, you gained access to the SI assistant program, which, under ethical considerations, allows targeted investigations through keywords. You chose to use SI's refined screening function to search for the possibility of dismemberment. This investigative approach shifted from identifying unusual behaviors to recognizing unusual objects. During the screening process, you also reported this bizarre case to the public security department. Surprisingly, within the public security department, a faction revealed the case, which SI couldn't solve, to the media. The event quickly escalated, sparking widespread discussions among the public. Numerous images were reported by the public—many claimed to have seen different degrees of disturbing unidentified organizations in various virtual spaces. They appeared in the rooms of online celebrities, live streaming sessions, online classrooms, virtual courtrooms, rooms of psychological counselors, canvases, stages of virtual singers... Holding the ground meat you were about to process, you suddenly lost your appetite—similar human tissue seemed to be scattered across various professions worldwide, which was too bizarre. You decided to have SI investigate the correlation of this massive dismemberment case. After days of data analysis, SI came to an unsettling conclusion. Despite their altered appearance, through the investigation of organizational volume and human features, all these human tissues originated from the same person, with missing parts still present. Could it be the monitored person? You reported this result to the public security department, and they immediately sent you to investigate the whereabouts of these related suspects. After nearly a few months of investigation, an even more shocking conclusion was drawn—all these related individuals disappeared like the monitored person, or rather, not only disappeared but seemed to have never existed in life. You reported this frustrating result, and after several days of meetings, the public security department announced the suspension of the investigation but opened the collection of public clues for this case. Satisfied, you closed the computer of the online meeting, picked up your luggage, and left. https://freight.cargo.site/t/original/i/X2036580604425539898129342789445/2024-01-05-14.18.49.png https://freight.cargo.site/t/original/i/M2036580604499326874424180995909/2024-01-05-14.19.38.png https://freight.cargo.site/t/original/i/X2036581035027886810731406161733/2024-10-26-20.34.36.png In a future dominated by electronic surveillance, our daily routines, even as simple as drinking water, are no longer private acts but are monitored and analyzed by advanced systems like CSI (Cup Surveillance Intelligence). Introduced in 2053, CSI is a speculative government tool that uses the cameras and sensors embedded in everyday electronic devices to detect and analyze individual drinking behaviors. This surveillance system observes, records, and interprets seemingly mundane actions, such as how frequently we drink and what we drink, using data patterns to assess potential risks. https://freight.cargo.site/t/original/i/G2036586660565406273269976528709/‘/CSI/’;’‘’‘’‘’‘;’;/;;‘’/;‘; https://irisawesome.com/no-0-pi-de-sanctified-symphony(2023) 2025-09-25T18:30:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/L2036646000974079785841092458309/2024-01-05-01.06.15.png PI, through its intricate underground roots and networks, allows plants to continuously exchange information and nutrients, showcasing an eternal, symbiotic, and invisible wisdom. This intelligence is omnipresent in nature, iterating and merging, embedding itself into our spaces, transmitting and filtering information. https://freight.cargo.site/t/original/i/A2036646472638879006520617727813/IMG_5490.mov https://freight.cargo.site/t/original/i/A2036647105417540966979366811461/-3-100.jpg https://freight.cargo.site/t/original/i/V2036647385291542053300683929413/-2.png https://freight.cargo.site/t/original/i/Z2036647385254648565153264826181/-2--3.png https://freight.cargo.site/t/original/i/V2036647626150679423726299379525/2024-01-05-00.39.16.png https://freight.cargo.site/t/original/i/T2036647626169126167800008931141/2024-01-05-00.37.22.png The core of this system lies in the natural sounds of plants, which hold unique energy. Artists reflect on the latent wisdom within botany and critically reconsider human social systems. Through natural sound mapping, chemical communication color extraction, graphic manipulation, and interactive design, the artists explore and offer new perspectives for contemplating the world. https://freight.cargo.site/t/original/i/K2036647626132232679652589827909/2024-01-05-00.35.04.png No.0-PI (Plant Intelligence) represents an organic intelligence, a co-creative system of plants that heralds a post-human society characterized by decentralization, anti-structuralism, and the dissolution of authoritarianism. It emerges from the random, free, unordered, and poetic natural soundscape of plants. https://freight.cargo.site/t/original/i/Q2036648423437405033526829774661/87fac29387790de94ee9c47ae5c18c4e.jpg https://freight.cargo.site/t/original/i/H2036676741993463276892412180293/No.0-PI De-sanctified Symphony(Cut) https://freight.cargo.site/t/original/i/R2036677707071772981155024074565/2024-01-04-02.36.28.png No.0-PI explores the themes of collective coexistence and the co-creation of life, advocating for equal and harmonious connections with nature while critically reflecting on authoritarianism and anthropocentric social structures. https://freight.cargo.site/t/original/i/O2036678356102016470551888131909/2024-10-26-22.02.30.png At every moment, the vibrations of plants feed their frequencies back into the intelligent network. Through spontaneous learning, they generate and progressively refine a system that moves toward absolute rational intelligence. https://freight.cargo.site/t/original/i/P2036678578237708606162308691781/2024-10-26-22.02.44.png https://irisawesome.com/comet-tail(2024) 2025-09-25T18:30:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/R2039660161748641129902981248837/2024-05-01-11.42.51.png https://freight.cargo.site/t/original/i/E2039660161730194385829271697221/2024-05-01-11.18.31.png Comet tail retraces and reconstructs memories into prophetic symbols. The artist uses uncaptured, hidden fragments of memory from the environment to explore the potential destinies predetermined by astrological symbols shaped by immediate trajectories of movement. https://freight.cargo.site/t/original/i/D2039660161693300897681852593989/2024-05-01-11.17.44.png https://freight.cargo.site/t/original/i/D2039660161767087873976690800453/CometTail_LingyuZhang_1.png https://freight.cargo.site/t/original/i/S2039660161785534618050400352069/CometTail_LingyuZhang_2.png https://freight.cargo.site/t/original/i/V2039660161711747641755562145605/2024-05-01-11.18.01.png https://freight.cargo.site/t/original/i/N2039660161803981362124109903685/DSC01243.JPEG https://freight.cargo.site/t/original/i/Z2039663117636464757047822645061/Comet Tail Using image manipulation techniques and latent space, we recode visuals and sounds, amplifying the fragments that lurk within these paths. The soundscape acts as a guide, fostering a resonance with the universe and aligning with the rhythm of our Flânerie as consciousness continuously advances. This work aims to provide a multidimensional insight into our identity as women, inviting the audience to explore the mysteries hidden within the comet's trajectory. https://freight.cargo.site/t/original/i/T2039663373787952964578656384837/2024-10-28-17.59.31.png Through a female lens, we symbolize the Flânerie archive by adopting the archival methodologies inspired by Warburg's later years, reinterpreting the Huainanzi's Astronomical Disciplines. This reinterpretation offers a critique of the taboos and regrets experienced by women marginalized in history. https://freight.cargo.site/t/original/i/U2039663556078677900976445454149/2024-10-28-17.59.40.png https://irisawesome.com/null-flux(2024) 2025-12-30T14:47:29+00:00 always 0.5 https://freight.cargo.site/t/original/i/O2039672978675550751815410906949/IMG_3955.jpg The work is adapted from an allegorical short story—“A Bit Louder”（Neo Gao, 2023), with noise as the core topic and discusses the alienation of people as "social beings” in a fictionalized context. By using symbolic metaphors, the story delineates the psychological process of schizophrenia of individuals in the ‘social machine’ through the lens of labour life, social relations, desires etc. The work translates literature text into cross-media interactive expression and depicts the heterotopia fable as real-time audiovisual performance. https://freight.cargo.site/t/original/i/K2039672978657104007741701355333/IMG_3944.jpg https://freight.cargo.site/t/original/i/T2039672978712444239962830010181/IMG_3969.jpg https://freight.cargo.site/t/original/i/I2039681913466723317478993426245/2024-10-28-18.09.36.png Through real-time camera recording and program data tracking, the world is thus recognized as a noise-indexed reality, in which the images and sonic constituted corresponding relations. The work attempts to achieve a specific site where the corporal being might synchronized with space and noise flux by juxtapositioning with instrument performance. https://freight.cargo.site/t/original/i/I2039681913503616805626412529477/2024-10-28-18.10.03.png https://freight.cargo.site/t/original/i/J2039681913448276573405283874629/2024-10-28-18.09.16.png https://freight.cargo.site/t/original/i/X2039681913485170061552702977861/2024-10-28-18.09.50.png https://freight.cargo.site/t/original/i/J2039681913429829829331574323013/2024-10-28-18.09.00.png https://freight.cargo.site/t/original/i/S2039684025102410923158786012997/Null-Flux(2023) https://freight.cargo.site/t/original/i/D2039686603090235456289753003845/IMG_3964.jpg https://irisawesome.com/unknown-utopia(2023) 2025-09-25T18:30:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/T2039693645983335822301721786181/F.jpg https://freight.cargo.site/t/original/i/F2039693934121478253644918028101/s.jpg https://freight.cargo.site/t/original/i/L2039694346313974580684848887621/2023-12-25-23.40.50.png This process resembles the phenomenological idea that shared reality is shaped through subjective experience. Believers collectively engage in meditation and creative practices, blurring the lines between individual perception and collective spiritual experience. https://freight.cargo.site/t/original/i/C2039694525007584422709275391813/2023-12-25-23.50.51.png https://freight.cargo.site/t/original/i/W2039694524933797446414437185349/2023-12-25-23.50.17.png Unknown Utopia is a spiritual space within an idealized world. It manifests through the meditative power of the mind, drawing on the energy of dreams to feed back into the blank, unknown realms, condensing the fragmented whispers captured by believers in these realms into spiritual power, thus continuing the cycle of manifestation. https://freight.cargo.site/t/original/i/F2039694524823116981972179875653/2023-12-25-23.48.49.png https://freight.cargo.site/t/original/i/Y2039694524915350702340727633733/2023-12-25-23.49.52.png https://freight.cargo.site/t/original/i/K2039694524786223493824760772421/2023-12-25-23.48.26.png Within the context of postmodernity, Unknown Utopia reflects the coexistence of fragmented narratives and multiple interpretations of spirituality, existing within a digital framework that democratizes spiritual exploration. It challenges traditional spiritual authority, allowing for a more diverse and open-ended engagement with belief systems. https://freight.cargo.site/t/original/i/D2039694525099818143077823149893/2023-12-25-23.52.06.png https://freight.cargo.site/t/original/i/N2039694524989137678635565840197/2023-12-25-23.50.35.png https://freight.cargo.site/t/original/i/W2039694524841563726045889427269/2023-12-25-23.49.04.png The artist blurs the boundaries between reality and dreams through a purely digital space, constructing a virtual shrine for the audience. Drawing on digital ontology, the artist questions what is "real" and how digital interactions can nurture genuine spiritual experiences. https://freight.cargo.site/t/original/i/I2039694525081371399004113598277/2023-12-25-23.51.54.png https://freight.cargo.site/t/original/i/B2039694525062924654930404046661/2023-12-25-23.51.40.png https://freight.cargo.site/t/original/i/F2039697629668399004321650571077/Unknown Utopian https://irisawesome.com/a-punch-on-tofu(2023) 2025-09-25T18:30:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/K2039717849974681680678106691397/2024-01-12-23.14.07.png The artist reconsiders the intertextual relationship between the interaction of gestures with materials and human interpersonal dynamics. By narrativizing silent objects, culturally rooted idioms are transformed into symbolic forms. The artist uses improvised performance as a way to revisit emotions, making subtle acts of emotional manipulation visible. Furthermore, the work explores the narrative power of sound, simulating dialogues, arguments, and the emotional dissipation that follows. https://freight.cargo.site/t/original/i/X2039717849956234936604397139781/2024-01-12-23.13.31.png https://freight.cargo.site/t/original/i/H2039726526234736053302323312453/2024-10-28-18.49.31.png https://freight.cargo.site/t/original/i/E2039726526105608844786356451141/2024-01-12-23.13.31.png “A Punch on TOFU” is derived from a Chinese idiom, describing the feeling of frustration when one's intense emotions or confrontational signals are met with a soft or indifferent response during an argument. https://freight.cargo.site/t/original/i/W2039726526216289309228613760837/2024-10-28-18.49.17.png “A Punch on TOFU” is derived from a Chinese idiom, describing the feeling of frustration when one's intense emotions or confrontational signals are met with a soft or indifferent response during an argument. https://freight.cargo.site/t/original/i/T2039726526253182797376032864069/2024-10-28-18.49.45.png A Punch on TOFU reflects on the role of the visual in this process of degradation—objects become mere entities characterized by their transparency, the ease with which they can be managed and manipulated, and the cynical convenience of their domestication and exploitation. In the end, the object loses all power of resistance, which ironically is what defines its essence. 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