Since 2013, Ling Shan has been progressively studying traditional handicrafts (weaving, embroidery, dyeing) in ethnic minority villages in southwestern China. This immersion has placed Ling Shan within the vast realm of cultural enlightenment. Fieldwork experiences in her twenties have not only allowed her to grasp the diversity of indigenous handicraft cultures but also spurred her to pay attention to the communities and societies behind these crafts. This, in turn, led her to contemplate the circumstances of individuals and cultures within her own country.

In 2020, influenced by traditional Chinese painting and calligraphy, Ling Shan began exploring Chinese aesthetics. The transcendence of self and life by ancient artists gradually inspired her to attempt, through the avenue of handicraft art, to narrate the beauty of tradition and construct her envisioned paradise.

"LING 泠" in Chinese describes the sound of water, cool breeze, and string music, embodying the essence of Chinese wilderness and subtle emotions.

Handmade silk filature and bamboo are both traditional materials with distinct Chinese characteristics, with wood representing the spirit of China - resilience and integrity. The initial inspiration for this creation stems from the desire to utilise these millennia-old materials, inheriting the aspirations of ancient artisans to create contemporary beauty.

By using natural-coloured handmade silk filature, the natural curling rhythm of silkworm spinning is intentionally preserved in the fabric's structural design, maintaining a sense of nature. This allows the natural curves and the design curves to intertwine within the same fabric, symbolising the harmony of nature and humanity.

In 2017, driven by a desire to conduct on-site research on the rarest and most special embroidery technique of the Miao ethnic group - Tin embroidery, Ling Shan traveled to Nan Village in Qiandongnan, Guizhou Province. During the time spent living and interacting with the local villagers, their warmth and simplicity deeply touched Ling Shan. She was invited to participate in a Miao wedding ceremony, and a chance conversation with the bride completely altered my previous understanding of handicrafts.

She began to realise that analysing and interpreting the handicrafts of ethnic minorities solely from the perspectives of technique, style, and aesthetics is one-sided. Such analyses only represent the observations and judgments of scholars or other enthusiasts from the outside. Instead, the lives of the local people who have lived alongside these crafts for generations, their stories intertwined with handicraft production, should be the basis of my understanding of these crafts.

The indigo-dyed fabric used in weaving is sourced from dyeing practices between 2014 and 2016. After a decade, these fabrics are re-cut, shredded, and woven, connecting fragments of time.

In 2013, Ling Shan traveled to Dali to study the tie-dye technique of the Bai ethnic group, which marked the beginning of my journey into handicrafts. At that time, there were no mature programs for handicraft design education in China, so She had to rely on her own exploration during my time at school.

In 2015, after graduating from undergraduate studies, Ling Shan returned to Dali once again. This time, she visited an elderly gentleman in Zhoucheng who was the former chief designer of a tie-dye factory and was nearly 80 years old. He showed her two thick volumes of the factory's product catalogs from back in the day. In the historical photos, Ling Shan believed she caught a glimpse of the pinnacle of Bai tie-dye craftsmanship.