is ominous of (2022–2023) reimagines the myth of Meng Po—the goddess who serves a soup that allows the dead to forget their past lives before reincarnation. The project centers on the subjects of the yin realm, examining the “corpse–ghost” continuum through collapsing cosmological and societal registers, where body and soul, memory and oblivion, migration, and necro-bureaucratic order remain unsettled.

In I Once Had a Duck Soup Cooked with Ginger and Wine, and Lapsed into a Comatose Suspense (2022), performers embody Chinese characters associated with corpses and ghosts (鬼, 尸, 魄, 屍, 魇). A choreography that physically transliterates their pictographic forms unfolds as they circulate hand-stitched fabric bowls of duck soup, leaking as they move. Their red-painted toes evoke the feet of ducks as a reluctant sign lingering at the threshold.

The single-channel video ( ) is ominous of ( ) (2023) condenses these operations into a cinematic riddle. Red-painted fingers, echoing duck feet, move across the shelves of a Chinese grocery store in Rotterdam. Meng Po appears not only as an underworld deity but also as an immigrant.