Artist Xingyun Wang

Xingyun Wang (b. 1997) is a New York-based Chinese artist, specializing in the transformative use of paper as her primary medium. Her abstract works delve into the realms of feminism, queerness, and intercultural experiences, offering a poignant exploration of personal and psychological narratives. Wang's artistic process involves layering thin sheets of paper, creating textured surfaces that reflect the nuanced interplay between body and landscapes; vulnerability and resilience.

Wang has showcased her works in various exhibitions. Her recent exhibitions include solo show "Glitch" at BROWNIE Project gallery, Shanghai, China (2024); "Home is You, Right Now" at Ruby/Dakota Gallery, New York, New York (2024); "A Journey From the Center of the Earth" at Shanghai Bund Art Center, Shanghai, China (2024); "The 4th Xinjiang International Arts Biennale" at Xinjiang Museum, Xinjiang, China (2024); "Jianghu: The Discrete Center" at ZIAN Gallery, Hangzhou, China (2024);  "Surfacing" at 54 Stone St, New York NY (2023); "Thank God Every Day That the Whole House Did Not Burn Down" at Hunter College, NY, NY (2023); "A Peek Behind the Curtain" at Bob’s Gallery, Brooklyn, NY (2023); "Terrible Terrible” at 205 Hudson Gallery, NY, NY (2023); "Pulp" at Pierogi Gallery, Brooklyn, NY (2022); and "Forbidden Fruit" at Piano Craft Gallery, Boston, MA (2021). Xingyun Wang studied at Bard College and received her BFA at SUNY Purchase (2021). She is currently an MFA candidate at Hunter College (2022-2025).

"I apply pigmented glue to layer thin sheets of paper onto thick watercolor paper, crafting a textured surface. Working on the floor, pushing the paper when wet and moving the glue around, is a tactile process of drawing with bodily and material contingencies. The interplay between thin and thick papers creates a stratified texture of semi-opaque layers, conjuring images of: engulfing floods, the remnants of landscape in ruins, skin, and scars. Mounting the work on the wall, I then accumulate small marks with other materials, weaving together a narrative and psychologically charged landscape comprised of multiple viewpoints and perspectives. The subdued tones in the work hint at peril and the aftermath of calamitous events. Paint drips, perforated holes, paper sanded away barely hanging on, strands of embedded hair, and glass flakes in the eyes are among elements in these landscapes. In every recess of the depicted space, danger appears to linger, instilling a profound sense of powerlessness in response to the tumultuous forces at play. However, amid the depicted realm of powerlessness, there is the sinew of resistance. Perspectives and scales shift, revealing that a mist of color, initially a shadow of a mountain, becomes the face of a woman when viewed from a distance, patiently waiting and gazing back from this immersive scale. Here, a body or an imprint of a body dwells in the space. The scarlet marks, in their evocative presence, hint at more than mere skin-deep wounds and scars. The marks signify incisions of the eyes, where the gaze becomes the most poignant cut upon the skin. These eyes have witnessed and documented everything, the flood, the chaos, and the noise, incarnating a silent yet resilient force within the narrative. Coming of age as a queer woman in an environment where queerness must be veiled, I gleaned abundant lessons in fear and helplessness, yet scant insight into resistance. For me, painting is a means of recording and paper emerged as a stirring metaphor, embodying a delicate yet robust and adaptable essence. I can tear it, cut it, sand it, wash it, punch holes in it, and still, it perseveres, maintaining its form and meticulously chronicling all histories and transformations. Layers of paper veiled on top, yet the base layer is still present opaquely. In the realm of paper, memories endure, and the material itself becomes a testament to resilience. Paper remembers."

Tell us a little about yourself (where you are from) and your background in the arts.

I was born and raised in Beijing, China, a city where tradition and modernity intertwine in the most unexpected ways. In 2015, I came to the U.S. to study psychology, seeking to understand the mind. Along the way, I stumbled upon watercolor and began teaching myself to draw with watercolor. It was through these spontaneous moments of playing with material, compositions, and color that I realized: perhaps painting is the best way to understand and communicate the mind.

What kind of work are you currently making?

My current work revolves around paper, layers upon layers of it, intertwined with water-based materials. I also mix my own glue, infusing it with pigments so it not only binds but breathes color into the piece. As I sand down the surface, those hidden layers—of paper, pigment, and glue—begin to reveal their textures and shapes. It’s an organic process, a dialogue between what is concealed and what emerges. This forms the foundation upon which I then continue to paint, allowing the work to evolve naturally.

What is a day like in the studio for you?

I strive for discipline in the studio, arriving around 11 and staying until 6, but there is always something so no two days are alike. While painting in the studio, I make time for breaks to avoid falling into the trap of routine, ensuring that each decision I make feels intentional rather than habitual.

What are you looking at right now and/or reading?

Right now, I just start reading Jutta Koether’s book f., a recommendation from a friend. The book explores the color red—a hue that resonates deeply with my own work.

Where can we find more of your work? (ex. website/insta/gallery/upcoming shows)

Instagram: https://www.instagram.com/xingyun_wang_art

I’ll be showing a few works on paper in a group exhibition at Studio 9D in Chelsea on October 18th, and in November, I’ll have a large paper installation and some paintings on display at Zian Gallery in Hangzhou, China.