Materials:
Digital epistolary performance
2021
Materials:
Inkjet face on printer paper, decoupage on foam to create “sushi”, decoupage on upcycled drink cans/chopsticks/table top to create set; stop motion video
2020
Materials:
series of 3 digital collages, digital self-portrait photography
12 in × 12 in
2020
Materials:
inkjet face on printer paper, painter’s tape, digital self portrait photography Instagram performance (series 3/3)
5 in × 4 in
Materials:
digital illustration, stop motion, vocal recordings
Recordings pulled from DSM-5 296.20-296.36//{this time it tastes like grief} (2020 poetic
nonfiction), and Neverland (2019 poetic nonfiction)
2019
Materials:
tempera paint on body, digital self-portrait photo collage
48 in × 36 in
Materials:
tempera paint on body, digital self-portrait photo collage
36 in × 48 in
2019
Materials:
morph suit, tempera paint on body, digital self-portrait photo collage
36 in × 48 in
Materials:
tempera paint on head, found foam heads, digital self-portrait photo collage
48 in × 36 in
“I heard somewhere once that to know what someone is afraid of losing, watch what they photograph. So let me take a selfie.”
Ann Li is an interdisciplinary digital media artist. Through self-portrait performance, autoethnography, installation, and stop-motion animation, her work orbits two spaces of mutual delirium: the internet, and her own psychology.
The work questions the ritual of self-sacrifice in an age where everyone’s a brand.
CC: I regret to inform you that I can no longer consent to the ritual slaughter of livestock…
Via the persona "CC" (@play_w_cc, 2014 – ) — a fake “influencer” with cannibalistic tendencies, who comes to the artist in a fever dream, only to steal away into the night with her face as she sleeps — Li uses social media performance on Instagram to critique the landscape of influencer culture from its own terrain. Unlike the artist, “CC” is ruthless: it is immune to the psychological pain of devouring oneself. Calmly, it eats its own flesh in the endless cycle of self-commodification on social media, in sushi “mukbangs” made from decoupage, in the feeling of unraveling and raveling again and again, until it finally games the algorithm.
She grew up Chinese American on the east coast.
She (just) completed her MFA (‘21) from California College of the Arts –where she was the recipient of the 2020 Ginny Kleker Award, the 2021 Thesis Prize, and the 2021 Barclay Simpson Award. Her BFA is from Penn State.