Lin Jingjing employs experimental practices to conduct conceptual tests and visual interpretations. Her works often infuse absurd imagination and humor, juxtaposing contradictions to reflect and challenge unresolved issues. She deeply engages with themes of personal politics, absence, gender, death, philosophy, power dynamics, and the nature of trauma.

Through her interdisciplinary practice, she uses objects, language, images, and theatrical elements to explore human relationships as interdependent existences—examining roles and responsibilities within these dynamics. Her artistic works span installation, video, sound, animation, light, performance, sculpture, painting, drawing, coding, mixed media, and photography.

In Rose, Rose performance, stitching gradually moved beyond the roses themselves and entered the lived realities of individuals and society. Since 2011, the project has unfolded in different forms across Chile, Italy, Hong Kong, and New York, transforming what began as a metaphor for flowers, wounds, and repair into an ongoing exploration of the individual, the collective, and the conditions of existence.

In 2011, shortly after Chile experienced a devastating earthquake, Lin invited one hundred earthquake survivors to participate in a Rose Rose performance. For these volunteers, many of whom had not yet recovered from the loss of family members, the work was no longer simply an artistic action, but became a process of living with trauma, loss, and memory. Although the act of stitching roses could not alter the pain that had already occurred, it created a possibility for difficult and often unspoken experiences to be shared and witnessed collectively.

Later that same year, in the version realized in Monza, Italy, participants held their hand-stitched roses high above their heads while maintaining balance on one leg. As time passed, their bodies gradually approached their physical limits, and trembling, swaying, and loss of balance inevitably emerged. Individuals continuously struggled between maintaining stability and collapsing, while support and disorder were generated simultaneously within the same process. What the work revealed was not merely the limit of the body, but a metaphor for the conditions of existence itself: people constantly strive to maintain a temporarily established order while inevitably confronting its disintegration.

In 2013, Rose Rose continued in Hong Kong through a dispersed format. After completing the stitching process, participants took their roses back into their own living environments. The work thus left the space of art and entered everyday life. The stitched roses continued to change and wither across different times and circumstances, as connection and disappearance unfolded simultaneously, and preservation and loss became intertwined. The work was no longer a temporary event, but a condition that continued to unfold over time.

From collective trauma in Chile, to the testing of bodily limits in Italy, to the intervention into everyday life in Hong Kong, Rose Rose continuously expanded the scope of its inquiry. The work is ultimately concerned not only with wounds themselves, but with how human beings continue to live amid vulnerability, loss, and uncertainty.