大喜哥出生于1956年，是一位生活在中国的老年跨性别者。90年代中期，她开始穿着女装，并过上了独居的拾荒生活。由于大喜哥特殊的成长和生活背景，她难以接受到任何关于“身份政治”、“性别研究”的信息，所以她的自我性别认知是完全自觉的，是质朴原始的。但正因为如此，她的抗争与坚韧，才能散发出一种强大的力量。

作品主要由三部分组成，分别是大喜哥的口述史、她的生活片段、以及我关于她的想象。在我想象的部分里，我在她身上使用了传统的菩萨和童子的形象。在传统中国文化中，菩萨被认为是即男又女，且没有固定性别的，同时她独特的妆面也与童子非常的相似。但是现实并不总如神话一般，在困苦艰辛的生活中，大喜哥仍坚守心中对于自我的认同，就如同菩萨一般，不执着于“外相”的束缚，而追求因顺从内心而由生出的自在欢喜，正如她的名字所示——大喜。

2021年3月至7月，我帮助大喜哥完成了她的一个梦想，带她拍摄了一组属于她的婚纱摄影。在这期间我完成了这件影像作品，我想我不能通过自己浅薄的认知去呈现大喜哥厚重的所有，我只想去呈现一个属于她的，少女般的，悬浮于现实的一个梦。这个梦出现她的生活中，她的绘画里，同时也反复出现在我的脑海中。

希望大喜哥健康快乐。

DaXi Ge (literally meaning “euphonic brother”) was born in 1956 and is an elderly transgender living in China. Since the mid-1990s, she has been wearing women's clothes and living a lonely scavenging life. Due to her unique upbringing and life experiences, she was not exposed to any information regarding "identity politics" or "gender studies”. Her self-awareness of gender is entirely self-perceived and rooted in simplicity and originality. her resilience and perseverance emit a powerful force.

The film includes three parts: DaXi Ge's oral history, her life fragments, and my imaginations. In the third part, I used the traditional images of Bodhisattva and Sudhanakumāra（善财童子）. In traditional Chinese culture, Bodhisattva is considered to be both male and female, transcending fixed gender identities. At the same time, Da Xi-Ge's unique makeup bears a resemblance to child figures and the image of DaXi Ge is very similar to Sudhanakumāra. Despite the hardships and challenges of her life, Da Xi-Ge remains steadfast in her self-identity. Just like a Bodhisattva, she does not cling to the confines of external appearance - “lakshana”（相）, but seeks the joy and freedom that arises from following her inner self, as her name implies—Da Xi, meaning "great joy.”

From March to July 2021, I helped DaXi Ge fulfilled one of her dreams by assisting her in a bridal photoshoot. During this period, I completed the editing of this part of the artwork.I realized that I could not fully capture the depth of Da Xi-Ge's experiences with my limited understanding. Instead, I aimed to present a dreamlike portrayal, reminiscent of a young girl, suspended in reality. This dream appears in her life, in her paintings, and repeatedly in my mind.

To my dear Da XiGe.

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