枯木寓言
在中国传统文人世界中，盆栽不仅是自然的缩影，更是人格理想与道德修养的象征。通过修剪、塑造与命名，盆栽被赋予特定的品格寓意，进入一个高度象征化的文化系统。当这些植物枯死，原有的象征体系也随之瓦解，留下的是一种关于身份流转、文化转译的身体性表达。
《枯木寓言》系列作品以“死亡盆栽”为出发点，探讨当代“精神生态”的遗落。在影像中，枯木被背负、迁移，成为文化、身体与生态张力的隐喻，映照出人在自然与社会交界处的困境。这些行为并非旨在重建秩序，而是试图在连接与边界中，重新思考我们与万物共存的可能。通过身体的介入，作品呈现出一种非主—客体关系的生态存在方式：人类不再处于叙事中心，而是与非人要素共同存在、相互缠绕的一部分。持续的行为中，隐约浮现出物种间的协同与缠结，那些被塑造的秩序开始松动，仿佛有某种未曾被命名的关系正在生成。
这些迁移行为通过影像的凝视，邀请观众重新思考自身在生态网络中的位置——不仅是观察者，亦是参与者。正如后人类学家Donna Haraway所言：“我们要学会与他者一起共存下去。”《枯木寓言》中枯木的被动迁移，恰是对人类中心主义叙事的一种沉默反抗。作品试图在失控与秩序之间，寻找一种尚未发生的生态可能性——一个关于多物种、多系统、多感知的未来寓言。
Withered Tree Fable
In the traditional world of Chinese literati, bonsai are not merely miniature representations of nature, but symbolic embodiments of moral cultivation and ideal character. Through pruning, shaping, and naming, these plants are inscribed with specific virtues and assimilated into a highly symbolic cultural system. When such plants wither and die, the symbolic order collapses with them, leaving behind a corporeal expression of identity in flux and cultural translation.
The Withered Tree Fable series begins with the image of “dead bonsai” to explore the erosion of contemporary spiritual ecology. In these video works, withered trees are carried and relocated, becoming metaphors for the tensions among culture, the body, and ecology—reflecting the human dilemma at the intersection of nature and society. These actions are not attempts to restore order, but rather to reconsider the possibilities of coexistence within connections and boundaries. Through bodily intervention, the works propose an ecological mode of being that resists the subject-object dichotomy: humans are no longer the narrative center, but one part of an entangled web, coexisting with non-human agents.
Through sustained, embodied gestures, a fragile sense of interspecies coordination and entanglement emerges—constructed orders begin to loosen, as if an unnamed form of relationship is quietly taking shape.
By framing these acts of displacement within the gaze of the camera, the works invite viewers to reconsider their own place within the ecological web—not only as observers, but as participants. As posthumanist scholar Donna Haraway reminds us, “We must learn to live with each other in a more-than-human world.” The passive migration of the withered trees in Withered Tree Fable is a silent resistance to anthropocentric narratives. The work seeks, between chaos and control, a yet-unrealized ecological potential—a fable for futures woven by multispecies, multisystem, and multisensory co-existence.