Lives and works in Berlin

The overall development of my artwork operates according to a non-linear structure. I see each project as a character. These characters are born in the simultaneous presence of each other, yet each exhibits its own individual socio-political context. An ARC can be drawn through these across a lifelong journey. Aspects of these characters concern themselves with the often neglected conditions of dynamic and relational power. 

The departure of each project is derived from the first-person experience. The “I” who often wanders between east and west, who identifies as a woman—as a young proletariat. My first academic studies in China in Exhibition Design have contributed to the awareness of objects, people in relation to space in my current art practice. After joining the University of Arts Berlin, I self-imposed a transition from design to mix-media installations.


My visual language consists of assemblages of different materials, which contain both physical and digital ones. I also appreciate and leave room for mistakes and allow for the unknown to occur as the assemblages come together. 


Exhibited works include:

<A.B.C.>, 2021, video installation, Dzialdov Project Space, Berlin

A.B.C. is a collaborative work formed from a dialogical exchange between Fang, Jones, and McLean; remembering their moments of learning and unlearning. A.B.C. is the beginning of a shared archive: stories pieced together, unstable and fluid, subjective, contingent on experience and immediate influences. The work offers a reassessment of our pasts: moving to dis-acknowledge the histories presented to us through ‘post’-colonial education systems, histories presented to us as total and complete although lacking, although defined by access, swayed by interest, current, and past censorships.

<Pandemic comes from my mum’s hometown, yet, I am in Europe>, 2021, mix-media installation, private collection, Berlin. 

This work is a layered response to the current pandemic. Not only does it address issues of racism towards Asians, but also takes into account the political framework that drives such responses, as well as considers the consequences of human rights that have eroded as a result of ongoing lockdowns. Mediums include metal paint on canvas, mixed media, aluminum frame. 


<Commissioned work by Intersoft>, 2020/2021, installations, permanent display in the office of Intersoft Consulting Service AG, Berlin. 

A statement of young artists simultaneously accepting and resisting the power relations inherent in the production of commissioned work for a  corporation. Mediums include light installation, painting installation. 


<NOTITLE> 2020, mix-media installation, duo exhibition, FK Kollektiv, Berlin 

The title, or lack thereof, implies that there can be no winner in the game of man versus nature. The work questions if current man-made power structures have annihilated humanity’s opportunities for tomorrow, particularly in terms of depleted natural landscapes and resources.

<THE WORST IS TO BE FEARED> 2019, installation and performance, UdK Rundgang, Berlin

Critiques the notion of the culture of fear in the art education system. 


<Up-side-Down> 2019, video installation, supported by Vilém Flusser Archive, Vorspiel Transediale and CTM, Berlin

Depicts a bird’s eye view perspective to discuss the relationship between humans, well-being, and ecosystems.

<I SAW YOU NAKED STANDING THERE> 2018, mix-media installations, UdK Steinhaus, Berlin

Reveals and converts intimacy between private and public space.

<Everyday life in a foreign land> 2017, mix-media installation, Tiny Bauhaus Salon, Bauhaus-Archiv Museum für Gestaltung, Berlin 
Poetic documentary of a young proletariat.