The “Yay” performance series is developed from the artist’s lived experience of Chinese identity. The series addresses issues of visibility in public space, hidden queer identity, and individual and cultural autonomy in China where often Chinese people hide their identities to safeguard their individuality. Throughout the series, the body is made invisible and visible by transitional spaces, like hallways, windows, and found and constructed architectural props.

In previous iterations of “Yay,” my body was obscured behind barriers that kept me separate from the viewer. In “Yay Pt. 2.5,” it crosses the barriers, and my identity is revealed by the body’s influence on the external space through an interactive performance. I move my body through the gallery space dressed in a cloak-like garment of red and black floral-patterned velvet—an absurd silhouette. The overall attraction is focused on the body, representing a transformation from being invisible to, now, publicly visible.

After getting permission from members in the audience, we touch, activating the MIDI chip installed on my body. Touches between the audience and my body create irregular sound—the sound of an electronic grand piano without actual rhythm, but magically harmonized. While touching, some closed their eyes and others asked where the sound came from. The bodies in the audience functioned as musical instruments ready to transmit and receive sound as thoughts, desires, connection, instincts, and vulnerability.