Bio
I am a multidisciplinary sound artist and musician based in Chicago, where I received my MA degree in Sound Arts and Industries from Northwestern University. And I hold a Bachelor of Arts from New York University, Gallatin School of Individualized Study. I will be starting my doctoral degree in Ethnomusicology at Duke University.
My art indicates the evolution from my Hani ethnic minority to a global citizen in intercultural dialogues. Born in Guangzhou, growing up in Yunnan and Shanghai, studying in the U.S, I got to observe the world from diverse perspectives, which are translated and redrawn into my music, sound, performance, and scholarly works.
Album-making has been my main artistic practice. I blend ambient-pop and Chinese folk-inspired music. Each song represents a narrative and storytelling from my life, especially my travel experiences across the globe. My inspiration comes from time and space, as I look for new ways of interpreting places and cultures. I have been composing and releasing music albums/EPs regularly, including Story of The Leaves (2024), The Bridge in The Mountain’s Hands (A Travelogs) (2022, featured as Bandcamp and Notable), EVE (EP with Parallel EVE).
My passion for sound art and interdisciplinary performance furthered through the creation of my multidisciplinary project “Tea Room.” Spoken-word poetry and field recordings are the building blocks of my sonic language. My practices elaborate on daily encounters from tea ceremonies to border town fairs, and collect them as poetic assemblages. Referencing ancient Chinese poetry and folklore in Yunnan, I hope to reframe overlooked traditions and transform them into novel sensorial experiences. Employing techniques of spatial audio (multichannel and ambisonics), as a performer, I explore various forms of performance space and how they contribute to an immersive, interactive sonic experience for the audience. I’ve performed as part of the Chicago Laboratory for Electro-Acoustic Theatre (CLEAT) Listening and Performance series using the 16-channel system in May 2024.
My scholarly inquiry revolves around the question of "in what ways does globalization shape how we conceptualize, perform, and listen to global folk music." I draw on theories and ideas from sound and listening studies, transnationalism, cultural anthropology, and intangible heritage studies.