Imbingbing000@outlook.com
@theonlybing000
@theonlybing000
Bing 饼, a Chinese pancake that never had a certain flavor.
My practice does not assume that resistance is heroic, visible, or even intentional.
I am interested in how people willingly participate in the systems that exhaust them - often under the illusion of freedom, self-expression, or visibility.
Rather than producing clear gestures of opposition, my work lingers in moments of ambiguity, failure, and complicity. I do not position myself outside these systems;
I reproduce them, misuse them, and allow them to malfunction from within.
I work with discarded objects not as metaphors for the human condition, nor as passive materials awaiting interpretation. What interests me is the process through which objects become discarded in the first place the shifting criteria that decide what is useful, valuable, and allowed to remain in circulation. These criteria are never neutral.
They change across locations, cultures, and historical moments, producing not only waste, but silence. In this sense, discarded objects do not simply reflect human history;
they are produced by the same systems that sort, exclude, and exhaust human bodies.
Working with these materials has made me increasingly suspicious of the human impulse to speak on behalf of others- objects, systems, even communities.
By allowing objects to produce sound autonomously, I am not granting them agency as a moral gesture. Instead, I am testing the limits of my own control, authorship, and relevance within the system I construct. The work becomes a site where hierarchy is unstable, where intention does not fully translate into outcome, and where control is continuously negotiated rather than assumed.
Language occupies a parallel position in my practice. For me, language is no longer a neutral tool of expression, but a sorting mechanism - deciding who is legible, who is fluent, who is correctly placed. Across different linguistic contexts, I became aware of how language operates as an infrastructure of discipline, quietly organizing bodies, identities, and access. In response, I work with text not to clarify meaning, but to interrupt it. I am drawn to language that is visible yet unattributed, readable yet untraceable texts that circulate without guaranteeing recognition, identity, or voice.
Across performance, sound, installation, and text, my work does not seek resolution. Instead, it stages situations where systems reveal their own fragility, where participation becomes indistinguishable from resistance, and where neither humans nor objects fully occupy a position of mastery. Through these unstable arrangements, I explore how discipline operates not only through force, but through repetition, convenience, and desire — and how it might begin to unravel from within.
My practice does not assume that resistance is heroic, visible, or even intentional.
I am interested in how people willingly participate in the systems that exhaust them - often under the illusion of freedom, self-expression, or visibility.
Rather than producing clear gestures of opposition, my work lingers in moments of ambiguity, failure, and complicity. I do not position myself outside these systems;
I reproduce them, misuse them, and allow them to malfunction from within.
I work with discarded objects not as metaphors for the human condition, nor as passive materials awaiting interpretation. What interests me is the process through which objects become discarded in the first place the shifting criteria that decide what is useful, valuable, and allowed to remain in circulation. These criteria are never neutral.
They change across locations, cultures, and historical moments, producing not only waste, but silence. In this sense, discarded objects do not simply reflect human history;
they are produced by the same systems that sort, exclude, and exhaust human bodies.
Working with these materials has made me increasingly suspicious of the human impulse to speak on behalf of others- objects, systems, even communities.
By allowing objects to produce sound autonomously, I am not granting them agency as a moral gesture. Instead, I am testing the limits of my own control, authorship, and relevance within the system I construct. The work becomes a site where hierarchy is unstable, where intention does not fully translate into outcome, and where control is continuously negotiated rather than assumed.
Language occupies a parallel position in my practice. For me, language is no longer a neutral tool of expression, but a sorting mechanism - deciding who is legible, who is fluent, who is correctly placed. Across different linguistic contexts, I became aware of how language operates as an infrastructure of discipline, quietly organizing bodies, identities, and access. In response, I work with text not to clarify meaning, but to interrupt it. I am drawn to language that is visible yet unattributed, readable yet untraceable texts that circulate without guaranteeing recognition, identity, or voice.
Across performance, sound, installation, and text, my work does not seek resolution. Instead, it stages situations where systems reveal their own fragility, where participation becomes indistinguishable from resistance, and where neither humans nor objects fully occupy a position of mastery. Through these unstable arrangements, I explore how discipline operates not only through force, but through repetition, convenience, and desire — and how it might begin to unravel from within.