Bloodline explores the memories that inhabit physical and photographic spaces, inspired by the ancient Chinese practice of ‘Mien Shang’ (面相): a physiognomic method of mapping personalities and divining the future based on an individual’s facial features.

Made using archive images and photographs of China, each composition displaces the facial features of family members with fragments of their childhood homes and cities, which take the form of painted inscriptions, advertisement scraps, and shop signs. The faceless, uncanny apparitions that haunt the silent photographs of Bloodline force viewers to interpret their identities based on the spaces that defined their past, evoking the idea that these disembodied memories often converge with our sense of self.