2017 MFA, Tainan National University of the Arts

2014 BFA, Yuan Ze University, Department of Art and Design

2024 P, #fffff Space, Kaohsiung, Taiwan

2024 I Am Making Sunny Side-Up, Again., IT PARK, Taipei, Taiwan

2024 Behind The Daydream, Qing-shui Art Village, Taichung, Taiwan

2024 How Do You Do, Fotoaura Institute of Photography, Tainan, Taiwan

2023 The Sailor Man, Pier-2 Art Center, Kaohsiung, Taiwan

2021 Stronghold Room, Matsu, Taiwan

2021 Mind The Gap, San-Chong Air Force Military Art Village, New Taipei City, Taiwan

2020 Blank Man, 241 Art-Space, Hsinchu, Taiwan

2017 The Method of Passion, Taoyuan, Taiwan

2016 Frame Attack, Lane 321 Art Village, Tainan, Taiwan

2025 Mushroom Village Cruise, Kids Art Space, Taoyuan, Taiwan

2022 Travel back to Gomach Hyperspace ARK, Niu-ma-t'ou Culture Park, Taichung, Taiwan

2020 Made in Hakka, Bopiliao Historic Block, Taipei, Taiwan

2026 Tiny Traveler · Big Adventure, Taoyuan, Taiwan

2025 Stealth, Taitung Art Museum, Taitung, Taiwan

2025 Nuit Blanche Taipei, Taipei, Taiwan

2025 The Architecture of Fear and Cure, New Taipei City Art Museum, Taiwan

2025 Shibboleth, Nanhai Gallery, Taipei, Taiwan

2025 Mushroom Village Cruise, Kids Art Space, Taoyuan, Taiwan

2024 SUNDAY: Taiwanese Contemporary Migrant Art, Tainan Art Museum, Taiwan

2024 National Art Exhibition R.O.C., National Taiwan Museum of Fine Arts, Taichung, Taiwan

2023 Taiwan Emerging Art Awards, Taichung City Seaport Art Center, Taiwan

2023 Forget Me Not, Tainan Municipal Xinying Cultural Center, Taiwan

2022 Austronesian International Arts Award, Taitung Art Museum, Taiwan

2021 The Useless Travel Fair: Travel Manuals for a Room, Taoyuan, Taiwan

2021 Out of Place, Hualien, Taiwan

2020 Made in Hakka, Bopiliao Historic Block, Taipei, Taiwan

2016 Post Ecolonialism Project, Museum of Contemporary Art, Taipei, Taiwan

2016 Regards croisés - paysages taiwanais, Normandy, France

2024 National Art Exhibition R.O.C. - Gold Prize in Mixed Media Category

2023 Taiwan Emerging Art Awards - Jury Prize

2022 Austronesian International Arts Award - First Prize

2016 S-An Art Prize, S-An Cultural Foundation

2016 Next Art Tainan - First Prize

2014 Taipei Free Art Fair Award - First Prize

2022 Taitung Art Museum - How to Get Balance

2016 Tainan Art Museum - Q: Exercise; Frame Series

2023 Pier-2 Artist-in-Residence Program, Kaohsiung, Taiwan

2021 Jinsha Settlement, Matsu, Taiwan

2021 Out of Place (Niuli Community), Hualien, Taiwan

2020-2021 San-Chong Air Force Military Art Village, New Taipei City, Taiwan

2020 Qing-shui Art Village, Taichung, Taiwan

2016 Ma-tsu Art Village, Taoyuan, Taiwan

2024 Pingtung Festival of Light - Fairy Ring, Pingtung, Taiwan

2023 Pingtung Festival of Light - Blue Moon, Pingtung, Taiwan

2022 Pingtung Festival of Light - All Endings Are Beginnings, Pingtung, Taiwan

2021 Tsáu Thuann Art Festival - Zen Time, Changhua, Taiwan

2020 NTPC Children's Art Festival - Run! Pudding! Run!, New Taipei City, Taiwan

2020 Fu-gang Railway Art Festival - Platform X, Taoyuan, Taiwan

2019 Military Dependents' Villages Festival Project - OOOO-Be All Ears, Taoyuan, Taiwan

2018 Taiwan Lantern Festival - Pollution Lips, Chiayi, Taiwan

2018 Yue Jin Lantern Festival - Make a Moon Wish, Tainan, Taiwan

2017 Taoyuan Daxi Culture Art Festival - Frame Attack, Taoyuan, Taiwan

2016 Tua-Tiu-Tiann International Festival of Art - Out of Frame, Taipei, Taiwan

2016 Yue Jin Lantern Festival - Frame Attack, Tainan, Taiwan

Tissue takes toilet paper - a fragile yet ubiquitous everyday material - as a point of departure to reveal the industrial structures embedded beneath its soft surface. Tracing the material trajectory in reverse, Zi-Jie brings toilet paper produced in Taiwan back to fast-growing plantations in Indonesia, repositioning the distance between production and consumption. In the installation, remnants and raw materials are reconfigured into a “White Forest,” while a toilet-paper kite released at the plantation edge inscribes a fleeting deviation in the sky. Through installation and video, the work reflects on the relation between use and care, consumption and regeneration, and asks how familiar materials might become interfaces for re-seeing the world.

How is a three-legged dog going to rebalance in the world? The work begins with Zi-Jie’s encounter with three-legged dogs during an art residency in Hualien. Their altered gait becomes a symbolic trace through the installation, linking prosthetics, traps, soil, a three-legged table, and moving images. The motif points toward cultural discontinuity, bodily adaptation, and persistent resistance under environmental and social pressures. Rather than representing a single reality, the installation oscillates between visual form and social structure, human and non-human, trauma and resilience. The three-legged dog becomes a figure for an unstable but enduring way of moving through the cracks of dominant narratives.

I Am Making Sunny Side-Up, Again. takes Ku Shih-Yung’s 1998 work I Am Making Sunny Side-Up at IT PARK as its point of departure. Through reenactment, transformation, and expansion, the project considers how artistic archives can be reactivated in the present. The exhibition unfolds across two floors: viewers encounter a circular table for frying eggs and, upstairs, a permaculture chicken coop that forms a micro-ecosystem linking production and consumption. Other elements include stacked chicken cages, egg tempera paintings, and a feather garment used in an opening performance. Between egg and chicken, scent and memory, reproduction and regeneration, the work reconstructs history through participation and bodily experience.

How Do You Do begins with a phonetic misreading from a 1990s Taiwanese film, where the English greeting becomes a pun meaning “fond of gambling, and gambling again.” Zi-Jie connects this linguistic slippage with childhood memories of mahjong, lottery queues, and the gambling imagery of popular cinema. The project expands these memories into a reflection on risk, chance, migration, and the island’s historical condition of uncertainty. Through kinetic and static installations, colored balls, game-like mechanisms, and symbolic interventions, the exhibition turns the site into a suspended field of probability. Gambling becomes less a calculation than a condition of delay and anticipation - a relational game between site, viewer, and symbol.

The Sailor Man developed during Zi-Jie’s residency at Pier-2 Art Center from the historical “Popeye” incident associated with writer Bo Yang. Beginning with the absurdity of misunderstanding, the work treats history as a field of repeated translation, interpretation, and misreading rather than a fixed truth. By introducing humor and the familiar image of Popeye, Zi-Jie opens multiple narrative layers around human rights, media transformation, and collective memory. Performative actions, video, archival references, objects, and a bicycle-based mobile element connect different times and spaces. The project uses deliberate misreading as a method for loosening established narratives and creating a more sensual, open-ended encounter with history.