Digital virtual artist, designer, DJ and lives in London and Beijing.
2020-2021, Chelsea College of Arts, University of the Arts London, Major: Fine Art
2019-2020, Central Saint Martins College of Art and Design, Major: Fine Art 2D
2018-2019, Chelsea College of Arts, University of the Arts London, Short course: Soft Furnishings for Interior Designers
2015-2018, Fine Arts College, Jimei University, Major: Environmental Design
2021, No One And You, Qingdao,Selfstudio
2021, Six Sites, Chelseamafa Online
2021, Heterotopia: Ephemeral Realty, London, Mafa International Festival
2020, A Dialogue In Winter: Winter Action, Yanjiao, Biennial Art
2020, Late at Tate: Constructing Landscapes/Building Words, Tate Britain Online
2020, Healing Landscapes, London, Cookhouse Gallery
2020, "ACOUSMA" experimental sound art, Beijing, No Space Gallery
2020, Nowshowing 2020:Post Mass Media, London, UALCSSA
2020, ARTRHINE “ZHAI” virtual exhibition, Beijing, Artrhine International Art Center
2019, "THE GREENROOM", London, Central Saint Martin
2019, "ARTIFICE, IMITATION, CAMOUFLAGE", London, Central Saint Martin
2018, "FACT OF ART" summer exhibition, Beijing, FA International Art Center
2017, "Yunnan Resident Series" report art Exhibition, Xiamen, Zhongshan Memorial Hall of Jimei University
2016, Wuyuan Tourism Bureau joint - "Ancient Village Series" works exhibition, Wuyuan Art Museum
2021, 'Artist of the Year 2020', Beijing, China Economy Daily Press
2020, The New Wave, artist interview, KUART
2020,“CONTINUITY & QHAKAZA” ,Independent Curator
2020, Covid-19 special, friendship interviews, Byeberryblue
2020, Nowshowing, artist interview, UALCSSA
2020,"ZHAI", artist interview, Artrhine Platform
2020, Special project, artist interview, Graduates Art Fair
2017, Yunnan Residency,Yunnan,China
2016,Wuyuan Tourism Bureau joint - "Ancient Village Residency,Fujian,China
My practice is centered on abstract painting, and also includes some videos, installations and experimental music. My research in painting is about a method of using computer-generated techniques to deconstruct and appropriate images. I use this method to raise questions about the value of images and the themes of particular times.These images are collected from accidental or soon forgotten symbols in the post-Internet era, such as misunderstanding of art history, distorted images, bugs in games, nostalgic products with national attributes, etc, to explore things beyond rationality and reality.These elements have their own narrative and history, and in combination with the rapidly produced images of the computer age form a new abstract painting language.In this combination, a special dialogue relationship is formed between the past and the modern products, which transcends the original identity and function, so as to explore the perception of the new painting order in some nostalgic and historical consciousness.
My image production mainly uses 3D modeling software to re-appropriate, destroy and collage the original image, including processing the material properties of different objects.These collected images are always accompanied by a kind of fiction, which is generated by the modern medium of the computer, perfectly restoring the relationship between the virtual and the real.I tried to reduce these images to simplicity, capturing parts, while preserving visual attributes and features, and amplifying the impression in the picture.Through partial interception and texture rearrangement of these images, everything becomes unfamiliar and unrecognizable.This leads to the intrusion and destruction of the value given to the object itself. I put this lost order and generated equality into the hierarchical painting logic.This hierarchical logic is derived from the transformation between plane placement into 3D and then into 2D in 3D virtual modeling. This combination of computer mechanization and manual work, reproduction and re-appropriation of post-production, is influenced by artists Richard Hamilton and Elaine Sturtevant.
Meanwhile, acrylic and rock color are part of the media that make up my painting. These two materials bring together the opposite and contradictory states of "solid" and "transparent". A variety of spatial senses merge into a visual surface, which equates the new and the old, the abstract and the pattern, the clear and the incomplete, the perfect and the wrong.Such juxtaposition produces a sense of coincidence, produces abstract visual rhythm, and full of tension. Also, through the expansion of this creativity, a kind of reflection and questioning on the order and value of painting is triggered.