在中国的农村，⼟地是⼀个沉重的问题，每⼀⽅⼟地都有着它⾃身的命运和性格，它的背后则是⼈的命运。1999年我⽗亲意外去世后，由他耕种的那些⼟地就遗留到了我名下，我不知所措，曾⼀度回避和愧于⾯对现实，很少回到家乡；可问题并没有因为我的疏离⽽得到解决，我的身份感也似乎逐渐消失了。直到2014年，我决定使⽤其中的⼀块⼟地来做个作品，⽤身体来重新检查和触碰⼀下我既陌⽣⼜亲切的出⽣地。最终，我在⼟地⾥持续2个⼩时的来回摔打跌倒中筋疲⼒尽⽽达成和解。作品名“⾃由耕种”取⾃于村委会开具的⼟地证明，我将这个⾏为视作为⼀次⾃我解救的措施。《⾃由耕种》是关乎于我与⽗辈和我所处的现实对话的⼀件作品，我试图通过这个⾏为来找到三者之间的平衡点，或者挽回⼀些失去的东⻄，同时想借这个途径来确认⼀下我的身份归属感。在我看来，我每⼀次的起跳就是出离，摔倒就是回归；不管出离还是回归，这⾥⾯始终都有⼀种⽆法弥补的缺失。

In the countryside of China, land is a heavy issue. Each plot of land has its own destiny and character, and behind it is the people’s destiny. In 1999, when my father passed away in an accident, the land that he had cultivated was handed down to me. I was at a loss, and avoided returning to my hometown, ashamed to face the reality. But the problem was not solved because of my detachment, and my sense of identity gradually disappeared. In 2014, I decided to use one of the plots of land to produce a work, to re-examine my relationship to my birthplace, which felt both strange and amiable. Finally, I made my peace through the fatigue that came from the constant falls into the field and the mud. The name of the work, Freedom Farming, comes from the land certificate issued by the village committee, and from the sense of salvation that came from the performative act itself. Freedom Farming is a work about the dialogue between me and my father, and my present reality. I attempt to find a balance between the three, or save some things that are already lost through this behavior; also I want to confirm my sense of identity, of belonging, via this path. As for me, every jump of mine is a departure, and each fall is a return. Regardless of each departure or return, there’s always something missing.