Every year, during the Dragon Boat Festival, a herbal healing ceremony called “expelling wind and fire” is held in my hometown, Chengdu. The women in the family would go into the mountains to pick mugwort, sarcandra glabra, trifoliate-orange leaves, Chinese elder, Chinese wingnut leaves among other herbs efficacious in dispelling wind and promoting blood circulation. The female relatives of the family would then bare their backs together, chatting while receiving healing treatments from each other. This ritual has left a deep imprint on my bodily memory. The ritual holds a spine-like dome that constitutes my perception of home, a consolidation of kinship ties. It is also my original experience of nature and physical change. In 'Wind Passing through Our Bodies', I have recreated the scene of brewing herbs by replicating the roof of my home to convey the empathic rhythms resonating between the bodies, the festival, and the plants. Year after year, the wind brushes through the meridians of the plants, through my pores, as well as those of my female relatives, purifying us all while connecting our bodies, nature, and time.

每年端午，我成都老家都会举行名为“推风火”的草药疗愈仪式。家族中的女性从山中采来艾草、九节风、枸橘叶、接骨草、麻柳叶等这些能够祛风通络、活血散瘀的草药。女性亲戚们一起裸露出脊背，一边聊天一边接受彼此的疗愈。这种仪式在我的身体记忆中留下了深刻的印记。仪式有如脊背般的穹顶，构成了我对家的认知，是亲属关系的一种凝结，也是我对自然、身体变化的原初体验。在《风穿过我们的身体》中，我通过制造家之屋顶，复现草药熬制场景，传达身体、节气与植物之间的律动。风年复一年，拂过植物的经脉，也穿过我和母辈们的毛孔，净化着我们，又将我们的身体、自然与时间连接。