Situated upon the unceded lands of the Gadigal and Wangal peoples in Marrickville, New South Wales, Minghua Xiang engages this cross-cultural ecological field as the generative site of his practice. Framed by the methodological traditions of posthumanism and new materialism, he undertakes a contemporary deconstruction and reconfiguration of traditional splashed-ink (pomo)—a technique historically constrained by canonical paradigms.

Xiang’s practice articulates a continuous negotiation between human intentionality and material autonomy: bodily gestural mark-making functions not as an absolute assertion of control, but as an initial provocation that triggers material evolution. As artistic subjectivity strategically recedes, the autonomous pouring, diffusion, and multi-layered sedimentation of ink are fully activated, thereby rendering 'material agency' visible. 

In this process, the physical phase transitions of the medium (diffusion and desiccation) respond directly to localised atmospheric dynamics, such as airflow and ambient humidity. The tension between human gestures and intangible atmospheric forces condenses into embodied haptic and visual textures. Through this material 'intra-action' between human and non-human agents, latent geopolitical and ecological frictions are brought to the fore, dissolving fixed identities within a living energy field that manifests non-linear trajectories of 'becoming'.

Consequently, ink wash is recontextualised within the philosophical parameters of contemporary ecology. Within this deterritorialised site, it evolves into a dynamic ecological corridor that articulates the symbiotic breathing of bodily sensation, non-human agent, and the broader environment.