Daijing’s performance practice began in 2014 through her continuous touring as a noise musician. All those different performances became a form of autodidactic research in the hyper-vulnerability of the performer, their connection with the audience and the conditioning effect of location and environment.
From churches to theatres, from power plants to historical sites, performing solo, often appearing masked and in a suit, Daijing metabolised the power relations and hierarchies inherent to live work and the relationship between the individual body and built environments. Instead of documenting the performance itself, she often films the audience from the stage and the footage becomes part of the research. It’s in these years that scale and improvisation emerged as central elements to Daijing’s compositional practice and the question of how to articulate the unspeakable, even the unrecognisable, aspects of human experience through music, storytelling and performance.