"Haha I listened to it all. I guess for me the most interesting part is that Candice mentioned the shaping fragments (It’s super interesting, the "parenthood" of social media) of our identities which is a question I often ask to myself as well… I was born and grew up in a nice family (my parents used to be really poor in the countryside but they worked their ways to the best universities in China (back in the 80-90s there was still a huge space for class mobility) and got a middle-class-ish social status after all these years working in a state-owned company. In a word, well educated but was adapted to the society, intelligent but couldn’t go beyond the cage of the traditions, caring, loving, nice and supportive but dull and boring in most of their life. I had never been abroad except from Thailand when I was 8 (and I’m sure I didn’t even see any Kathoey), but then a major part of my knowledge is from the west through reading and films and music and such. I guess my passion for the west in a long period of time did give me really positive influences (I never avoid my identity as a Chinese but I don’t want to be tagged) but now it seemed to have disappointed me in various ways (such as the westerners’ inherent imaginations of the "mysterious Orient” as a cultural spectacle, the misinterpretations and stereotypes through the filtering of the western media of this crazy post-Mao socialist country (which I think actually the core problem of China is not unique but a common one, it’s the problems resulted when the global Capitalism clashed with the China which was in void, ruins and pains). I guess after all these rant my point is, simple as it is, it’s a Beckettian question that I don’t know where am I going to as much as I don’t know where I came from, as a modern man. Perhaps in my case it’s different from Candice, since China and South Africa had a hugely different history and social contexts and in terms of the roles they played in the globe, but there’s something similar here. I guess China is not my biggest concern since I think the west is also unavoidably in shit now and the offers (this corrupted, polluted word "freedom" and such) from the west are no longer valid (I mean the culture as a whole). America used to be a huge inspiration, a Utopia as a democratic, free, equal and prosperous country, but my mistrust in the American culture has always been so strong that I decided to come to London. I guess my identity as a Chinese whose Chineseness is almost invisible (well I cook well and I cook like a Chinese and eat like one). The notion "China" to me is an estranged, defamiliarized cultural myth bounded with speeding Capital, exploitations, inequality and nice (mostly in a passive and compromising style) and tolerant general public (If you look into Chinese history there used to be a much better hospitality to minor races and different cultures, and also in terms of gay tolerance) and a mixture of which was sadly reduced to a minimum: the praise of the past and the wisdoms of our ancestors is often granted within tiny intellectual circles who were trapped and limited within the time they were born. I mean, back to the topic where I came from I guess for me my practice as an artist, however, is more to do with art itself (if there is such thing as "art itself"), I mean I guess I have a belief in it, not for its function, its cultural and political meanings as such but for the “experimental field” of "freedom" which "art" seems to provide (and also beauty, not in the sense of those aesthetic trends tastes or formulas): in this sense to me politics and such are inherent within it. I mean it also in a way that I think for me there are better approaches to change the world such as becoming a politician (it’s different when an artist is politically engaged and making "political art" or using its “art” as an intervention). I guess for me why I like Candice’s work is that they seem to have balanced a critical approach to the socio-cultrual materials and this ambiguous space of artness, when I watched those strange montaged film clips I felt thrilled since there seemed to be something more than just identity politics and mainstream cultural products and social critics… Perhaps what made them intriguing is that they successfully estranged the everydayness (in a sense that we every individuals live in) into something mystical but revealing, although the original materials are just the cultural products we consume, and perhaps live ourselves into."