Thanks to the 1995 "Protector of the Waters" Environmental Art Week, Chengdu has fostered a remarkable tolerance for performance art. However, rather than addressing conventional "ecological" themes, my practice has always centered on the concepts of "power" and "bullying." In this project, I have shifted my perspective to reconstruct contemporary ecological protection as a form of "historical bullying" by humans against the animals that once inhabited the Chengdu Plain—a discourse involving anthropocentrism and ecological colonization.

From the Asian elephants of the ancient Shu period to the diverse wildlife that thrived in the city center during the Tang and Song dynasties, human expansion has forced animals to retreat into the surrounding mountains or face extinction. It was not until the late 20th century, as the severity of environmental degradation became undeniable, that humans began constructing fishways and "Living Water Parks" in an attempt to reshape the illusion of "coexistence between man and nature." Yet, the result remains deeply ironic: to this day, humanity alone enjoys this "Utopia"