My Body and a Four-Winged Bear (2026) stages an absurd relation between fragmented cyborg remains and a projected four-winged bear. The work responds to the persistent image of the feminized humanoid cyborg in contemporary futurist visual culture, where East Asian-coded femininity is often aestheticized, fetishized, and made available for consumption. Instead of reproducing that familiar body, the installation presents it as fragmented, corpse-like remains, refusing its expected vitality and desirability.

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The four-winged bear, developed through a biomythographic combination of personal memory and the Chinese myth of Hundun (混沌), appears as an opaque and disruptive presence. Through this disorienting juxtaposition, the work invites viewers to feel the violence hidden within the demand to accept the feminized cyborg body as natural, desirable, and legible. What appears irrational is not only the bear’s presence, but also the visual logic that continues to normalize these bodies within dominant futurist imaginaries.