Contemporary arts in the London fascinated Li as a student, especially the works of Tadeusz Kantor, Robert Wilson, Harold Pinter, Robert Lepage, Trisha Brown, William Forsythe, Merce Cunningham and many other theatre directors, live artists, writers, choreographers, and producers/curators.  At the same time, she realised that many Western Chinese artists portray China in art in a way that searches for cultural references. Her unique understanding that such references do not necessarily exist has inspired her to set up Jump+, which allows her to freely develop her own projects and help other artists to do the same.

Li hopes to bring her understanding of China and the West into her work in a way that does not have definite and fixed meaning and references. She understands that work that defers too much from the norm may not easily be mass marketed for today’s consumer audience. But she believes that there is a niche market of audience that appreciates such sincere art works which breaks down cultural barriers and portray the true emotions and intellect within all of us.

Li was born in China and lived in Hong Kong before moving to London in 1997. She received BA in ALternative Theatre Practice from the Central School of Speech and Drama and an MA in Media Arts Philosophy and Practice from the University of Greenwich). (distinctions awarded in both degrees).

Since 2004, Li has worked as a freelance digital designer for opera, theatre and public art work. She has also directed, performed and lead educational workshops, including an exploratory performance/new media project “Teamworks” (supported by Chrissie Tiller and Jennie Harris), funded by National Endowment for Science, Technology and the Arts (NESTA) as part of the National Theatre’s Art of Regeneration Programme.

In 2008-09, Li attended the National Theatre’s “Step Change” leadership training, (supported by the Cultural Leadership Programme, Royal Opera House, BAC and Young Vic), which taught her management, marketing and leadership skills. Understanding how each venue from large to small works has been an important addition to her artistic experience. She also completed a secondment at Improbable Theatre Company, where she archived the company’s past 13 years of work and interviewed the Improbable team. Improbable’s work was unique, but nonetheless influential. She learnt from this experience the importance of building long term sustainable relationships, which ensured the success of Improbable’s productions. She also took a residency programme at Chinese Art Centre, learning the importance of various international contemporary Chinese arts.