All posts tagged: Jessica Wan

Yim Sui Fong 嚴瑞芳

Published by Jessica Wan

Between the personal and the political lies Hong Kong-based artist Yim Sui Fong’s long-standing enquiry into how we come to know and relate to the world – an enquiry shaped by playful, embodied, socially engaged practices. Her work often explores how individual agency can generate new ways of seeing and being within power structures embedded in everyday life. Through participatory listening, performative archiving and collaborative workshops, she creates artworks that become public encounters and platforms for collective meaning-making. In recent years, she has developed sonic interventions, such as A Stream A Path (2025-) and Stair Mass (2022), to explore the role of sound in remembering personal experience and sparking collective imagination. These works expand the role of the artist as storyteller, facilitator and social archivist. From June to August 2025, she was a resident artist at Delfina Foundation in London, where she continued researching archives and collaborative learning practices across cultural contexts. Jessica Wan: What brought you to Delfina Foundation and how has the residency community influenced your thinking or practice so far? Yim Sui …

Nai-Jen Yang 楊乃臻

Published by Jessica Wan

xi xi su su /Mother’s Tankstation /London /Mar 14 – Apr 17, 2025 / Nai-Jen Yang’s paintings unfold like whispered secrets, resisting immediate comprehension. In her first solo exhibition in London, at Mother’s Tankstation, surfaces made of gentle, meticulous brushstrokes evoke both lightness and weight, demanding time not as an aesthetic luxury but as a fundamental requirement for their visual effects to register. Looking at works like Bon Iver, Bon Iver and white noise (2024), the eye initially finds little to grasp. Yang’s process involves months of sustained engagement with individual canvases, listening to the same musical pieces while building up surfaces through thousands of repetitive marks. Working with oil paint and rabbit skin glue on fabrics such as calico, muslin and canvas, she creates surfaces that shift between opacity and translucence depending on angle and light. Applied without traditional gesso, the rabbit skin glue creates microscopic crystalline formations that catch and refract light throughout the day. From certain angles, these appear as tiny prisms embedded in the surface. The fabric remains partially transparent, revealing …

Whiskey Chow

Published by Jessica Wan

London-based artist, activist and Chinese drag king Whiskey Chow’s practice defies conventional boundaries, spanning performance, moving image, digital art, sculpture and experimental print to challenge established narratives around gender, masculinity and Asian identity. Through their multifaceted approach as an artivist – an artist with the heart of an activist – Chow creates work that interrogates systemic inequalities while carving out spaces for marginalised voices, particularly within the Chinese and other Asian diaspora communities and beyond. Drawing from their early experiences in feminist and LGBTQ activism in China, including organising groundbreaking events like For Vaginas’ Sake (將陰道獨白到底, 2013) and the first Chinese LGBTQ music festival, Lover Comrades Concert (愛人同志音樂會), Chow’s work offers a distinctive non-western perspective within western contexts. Their work you must everywhere wander (你必顧盼, 2021) in the exhibition On Queer Ground at Yorkshire Sculpture Park and performances at renowned institutions like the Tate Modern and V&A demonstrate the growing recognition of their unique artistic vision. Jessica Wan: Your journey from organising feminist and LGBTQ events in China to your current artistic practice in London …

Angela Su 徐世琪

Published by Jessica Wan

Angela Su’s work flows from the intersection of science and art, where intricacy meets imagination. With roots in biochemistry and visual arts, her practice is a dance between the tangible and the ethereal, as she weaves delicate lines into intricate drawings, often unsettling and always profound. Her creations—whether on paper, in video or through hair embroidery—speak of bodies in flux, beings in metamorphosis, and the tension between control and chaos. Su’s art explores the shifting nature of the human body, its transformations, and the interplay of science and fiction. Through her meticulous renderings of invented anatomies, she questions the certainty of the medical gaze, creating speculative worlds where bones become snowflakes, veins twist into vines, and organisms float in space, suspended in the in-between. Her hybrid figures exist in a state of becoming, fragile yet fierce, inviting us into the mystery of the body as it unravels and reforms. In her hands, the body is a site of resistance, a vessel for transformation and a story waiting to be told. With each line, Su reimagines the universe, drawing us …

Wallace Chan 陳世英 

Published by Jessica Wan

Transcendence /Santa Maria della Pietà /Venice /Apr 19 – Sep 30, 2024 / Against the backdrop of information overload and techno culture, our attention is constantly focused and optimised on digital platforms. The rationalist worldview that we can ameliorate the human condition through hyper-utilitarian goals, such as expanding the physical reality of our mind with artificial intelligence, has sparked a revival of self-development, spiritual well-being and a new openness to the religious and the numinous. For multidisciplinary sculptor and artist Wallace Chan, the pursuit of a meditative state and the ability of the mind to transcend the boundaries of space and time have taken the form of a lifelong exploration of the philosophy of non-duality, where conflict and harmony are interchangeable realities. After moving to Hong Kong from Fuzhou in 1961 aged five, Chan began as a gemstone apprentice aged 16. Believing that all things in the world possess an inner spirit, he developed an uncanny understanding of materiality, leading to his invention of the “Wallace cut” in 1987. Inspired by multiple exposures used in …

Trevor Yeung 楊沛鏗

Published by Jessica Wan

Where does the water come from? Who is inside these empty aquariums? These questions linger in my mind as I enter the courtyard of a building in Venice’s historic Castello district, encountering Trevor Yeung’s site-specific installation Pond of Never Enough (2024). Created in response to the area’s aquatic identity and maritime characteristics, the work, part of the exhibition Courtyard of Attachments, consists of fishless tanks that extract water from the Grand Canal and filter it back to the Lagoon. Reminiscent of fish farm breeding pools or tanks in seafood restaurants, the aquariums symbolise the exertion of systemic control to produce commodities or desired outcomes. Highlighting how physical infrastructure impacts the ecosystems we inhabit, the water cycle hints at the deliberate support the system demands to maintain itself. From Hong Kong to Venice, the proximity of waterways and densely built urban spaces forms a connection that permeates our interactions with nature and social ecology. Often departing from his personal memory and experiences, Yeung offers a sensuous perspective on how we live with and relate to others. …

Ling Pui Sze 凌佩詩

Published by Jessica Wan

Much like gazing at the night sky during the new moon in minimal light, Ling Pui Sze’s works capture ever-evolving textures and organic forms, evoking a sense of tranquility and boundlessness. Inspired by her personal medical experiences and a deep connection to nature, Ling employs experimental ink techniques and collages to create videos, sculptural installations and works on paper. Her intuitive approach to arranging collected images of nature transfigures creatures and landscapes into abstract representations that recall both the familiar and distant. Ling embraces and reconstructs the incidental organic through an iterative process, reflecting on the interconnectedness of various life forms. To further explore the interplay between biological traits and the evolution of human society, Ling has participated in several artist residencies, including ones supported by Haohaus in Taiwan in 2015 and Listhus Artspace in Iceland in 2018. From July to December 2023, she undertook an artist-in-residence programme at Robinson College, part of Cambridge University, with Artecal Foundation. Her latest work, White Mirror 2, is on view until 9 March at the group exhibition Living …