At a pace as slow as mud, I record fragments and remnants encountered in life.

I write an average of 160 articles a year, covering the trivialities of life, reflections on books I’ve read, my observations of the world, my thoughts on myself, about love, and also about dreams. During a period of intense passion, I once wrote a poem titled “Not About Teddy Bears.” In this sea of words, I cannot find a brief passage that would allow others to quickly understand “Yun.gon.e.3” If I were to find one, it would only be taking things out of context.

The name "Mao Mao" is not only the author's name but also a desire for the audience to feel a sense of "fluffiness" when they discover that cute animations are not just about being cute.

I am currently pursuing a Master's degree in the Department of Fine Arts at National Taipei University of the Arts. My primary creative medium is visual imagery, and I enjoy using satirical and sarcastic approaches to handle the texture of my works.

From a young age, I have been deeply fascinated by the esoteric and mystical, which has profoundly influenced my artistic medium. I always seek unconventional images and symbols, striving to break the binary constructs that defined my formative years. I believe that the world cannot be explained by just two answers; therefore, I adopt a neutral approach in my creative process, experimenting with the integration of different symbolic mediums. This endeavor requires a significant amount of time and mental effort to achieve sublimation. As a result, creation is often a painful process in my life, yet it is one I thoroughly enjoy. I look forward to continuously refining my craft, sculpting it into the ideal form that I hold in my heart.

“Flattening” is my core creative concept. I draw elements from my own memories or impressions and compress them, placing them within my works. This process resembles a conceptual flattening, where I not only imbue the images with narrative but also explore the relationship between the three-dimensional, the two-dimensional, and abstract sensations.

My works contemplate the integration of various materials, found objects, or the combination with the performers' bodies, responding to the corporeal aspects of different social domains or connecting bodies driven by desire. In recent works, many pieces focus on linking different social contextual texts to the imagination of different bodily sensations. For example, "Meal Delivery" reflects the phenomenon of capital control and labor-intensive running of errands, "Pleasure Directive Third Scene" responds to the pandemic with a live streaming project launched by the Air Force, and "Pleasure Enjoyment Plan" invites twenty-five people to interact naked within a membrane. In the recent "Wandering in Wanhua" project for ordinary people, the work "Doll Country, Doll Town" deeply explores the phenomenon of claw machine shops that have invaded Taiwan in recent years, connecting it to Ximending for an in-depth investigation.