Sophie wang

Category: reflections

  • September Exhibition Reflections:From Ecology And Positionality

    “New Language of Ancient Architecture,” was the first and largest project I worked on during my placement. It was in Jincheng, which is not a developed city, but it is known for historic architecture and deep cultural heritage. The exhibition ran 30/09/2025–31/12/2025 and was a collaboration between our company and the Jincheng municipal government to promote local architectural culture and support the local arts.

    The exhibition comprised two parts: one is the group show Cosmic Alignment, featuring ten Chinese and international artists; the other is the site-specific project The Eightieth Day.

    Exhibition 1 — Cosmic Alignment

    The gallery footprint was modest, but the spatial design was smart: tailored niches for works across very different media and styles, unified by a deep blue–silver palette that sustained a cosmological atmosphere.

    Concept

    “Cosmic Alignment” grows from the Chinese character “斗 (dou)”,  bridging architecture, astronomy, and agriculture.

    This ancient unit of measurement interconnected three pivotal technologies—mechanics, astronomy, and numerology. I think this concept is extremely brilliant！The exhibition explores ancient Chinese cosmology through material and technological lenses, embodying the unity of space and time, an infinite universe, and   the relationship between humans and the cosmos.

    Selected works

    Zhao Xiaoxiao, Cloud Atlas, 2022, aluminum, electronic components, carbon fiber rods, 160 × 300 × 160 cm

    This is a kinetic installation. It uses sensors to collect real-time air-quality data and converts it into changes of form, color, and sound within the mechanism, making otherwise invisible atmospheric conditions perceptible. Like a “translator,” it lets viewers sense environmental change through sight and sound, drawing attention to the interplay between human activity and the state of the air.

    Xie Qun, Map of the Nuwa Mountain Ruins, 2025, ink on xuan paper, 240 × 123 cm

    Inspired by Chinese myth of Nuwa patching the sky, the serpent-bodied figure is transformed into the counter-form of earth veins and mountains, symbolizing unity between human and natural form. The work situates myth within concrete spaces and practices, combining material-culture research with anthropological imagination.

    I have been reading the Classic of Mountains and Seas and am drawn to the ties between mythical creatures and their geographies; this piece turns myth into a legible spatial and productive reality.

    Tong Kunniao, Guardians, 2025, corrugated cardboard, paint, 300 × 300 × 300 cm

    Using discarded cardboard, the artist reconstructs the dougong structure (interlocking wooden brackets) from traditional architecture and paints the Four Symbols（the protection of the four directions）. Standing before it, I felt surrounded by stars and ancient temples, sensing the link between cosmos and architecture, faith and belief. I can feel the depth of ancient imagination about the universe.

    Chen Zhe, Quadrant, 2022–2023, brass, aluminum, stainless-steel wire, φ300 × 182 cm

    The work draws on the ancient practice of “measuring with the body”—telling time by observing one’s shadow in sunlight. Later generations invented astronomical instruments to refine this temporal order. The artist suggests humans have never been separate from nature; the cosmos is apprehended through the body, expressing Chinese philosophy about“the unity of heaven and humanity”.

    Gabriel Lester, Small People, Big Shadows, 2024, conveyor, tree models, figurines, 45 × 50 × 46 cm

    Two light-based works continue Lester’s long-term inquiry into narrative, motion, spatiotemporal perception. Figures and objects travel on a conveyor while constant light witnesses their passage. It reminded me of a famous accent Chinese poem sentence:

    “People today do not see the moon of old,

    yet this moon once shone on people of the past.”

    The light behind is like the moon that remains constant, quietly witnessing change and the passage of time.

    Screenshot

    Nie Shichang, Droplet Oscillator, 2025, mixed metals (iron, stainless steel, copper), 90 × 70 × 80 cm

    Based on calendar systems derived from sky-watching and agricultural time, the work embeds yin-yang lunisolar principles in concentric rings. It is Merging natural ripple patterns with compass-like forms, a mechanical transmission simulates wave dynamics. As the device runs, rings inscribed with celestial symbols rise and overlap like waves, suggesting a link between subtle variation and grand cosmic order and inviting reflection on natural laws within traditional Chinese cosmology.

    Emily Cheng, Cassandra, 2023, Flashe on canvas, 28 × 36 cm

    Cheng explores the spirituality of painting and cosmological philosophy, constructing visions that link inner spirit and universe through abstraction. Combining Daoist talismans, scientific illustration, and prehistoric rock art, she dissolves boundaries between inner/outer, individual/collective, past/present.

    Exhibition 2 — The Eightieth Day

    This large-space installation draws on the myth of Nuwa patching the sky. Using raw cowhide, natural stone, and mixed media with instrumental performance, it focuses on the moment just before cosmic order is restored. 

    I appreciate this immersive format that invites reflection.Walking through, I felt suspended between destruction and repair, chaos and order—as if back before the birth of civilization, about to witness the shift from turmoil to structure. It prompted three questions: Who am I? Where do I come from? Where am I going? 

    However, as an animal-protection advocate, the material of this work – cowhide – made me into deep reflection. I understand cowhide is a by-product of beef production. It is common in everyday life such as car interiors, bags, where its properties are functionally used. However, in this exhibition, over 200 sheets of dried cowhide were simply suspended in the space, without any real use of their material properties. What will happen to them after the show？Stored away or discarded?

    To me, cowhide is not strictly irreplaceable in this context. While Damien Hirst’s work is controversial, His works expose how the living often face death with indifference, even turning it into a spectacle. However, The Eightieth Day explores the dawn of civilization; if the aim is to evoke a primordial atmosphere, fabric or recycled, low-impact materials could achieve a similar effect. More broadly, creative practice should move beyond a human-centered default, ask what “nature” or non-human creature would say, and keep sustainability in view.

    A Setback — and What It Taught Me

    Beyond this, the project also left me with another important lesson. Our original plan was more ambitious: beyond the exhibition, we scheduled a week-long outdoor stage performance over holiday, designed by famous architect Ma Yansong and directed by Liu Chang, blending contemporary theatre with local traditional opera—a genuinely inventive program. The entire team believed in its artistic merit. Yet one week before opening, the mayor and the police department canceled it, even though rehearsals and stage construction were complete.

    From the mayor’s perspective, parts of the work were too avant-garde and dark for an official, government-partnered event. The police cited practical concerns: hundreds of spectators in an open square, insufficient parking, and potential crowd-safety risks. This was my first real lesson that artistic creation is not absolutely “free.” The same artwork conveys different meanings when viewed from the perspectives of different social roles. Mature projects must balance multiple viewpoints; while pursuing artistic ideals, we must fully account for real world conditions and social context.

    Conclusion

    This project gave me more than new sources and ideas for my research: it deepened my understanding that artistic work must weigh environmental responsibility and communication to different role, alongside concept and form. I’m certain the experience will stay with me and inform my future practice.

  • Rethinking Positionality Through Autism Diagnosis

    Last week, I completed a neurodiversity assessment with a doctor from Psychiatry UK and was diagnosed with ASD (Autism Spectrum Disorder) with mild ADHD. I felt like though years of unspoken frustration were finally acknowledged. Like The Truman Show, I suddenly realized that most people experience life more easily and happily, while I have spent over twenty years imitating and learning how to fit into society.

    As a high-functioning autistic woman, I appear almost no different from others: I can live independently and communicate effectively. Yet I have always felt different and lonely. With age, the mental strain and loneliness caused by this difference have grown stronger. Many things that others grasp instinctively require me to use brain to thinking. Additionally, I am more sensitive to external stimuli such as noise or texture, which often leaves me exhausted.

    When I told my parents and a few close friends about the diagnosis, they were surprised, concerned but confused, thinking I was overanalyzing. I understand their reaction. In their minds, I am intelligent, friendly, and capable, nothing like their image of autism who struggles with speech or social behavior. One friend asked why I insisted on getting a diagnosis if it didn’t affect my “normal” life or lead to treatment, especially after waiting on the list for six months.

    For me, the diagnosis holds profound meaning. It has resolved decades of confusion and pain, explaining why I have always had to work so hard to fit in and why I experience obsessive thought patterns invisible to others. I discovered that many things I once thought “normal” were not. Most people easily notice physical or emotional discomfort, which is hard for me to recognize. For example, I might become irritated because I forgot to go to toilet all day or was extremely thirsty, yet fail to realize the physical cause behind the emotion.

    Besides, this diagnosis made me feel my real self that I had hidden behind a mask for so many years was finally seen. I remembered when I was a child, I refused to wear any tight clothes and sweaters, even those knitted by my grandmother. I always felt guilty for my picky and seeming ungrateful. But now, I understand that it was sensory sensitivity, not defiance. I felt immense relief, as if I had received an official notice declaring that I had never been guilty.

    Yet, to be honest, my family and friends’ initial reactions left me slightly disappointed. I know they love me, but they cannot truly feel my world or understand the challenges it brings. This made me realize how little awareness of neurodiversity exists, especially in China, where autism is still equated with being nonverbal or socially withdrawn. Those with milder ASD or ADHD symptoms often  recognize themselves only through personal exploration.

    For this reason, I now have a strong desire to express the autistic experience through art — to help others see, understand, and reduce bias. I want people to know that difference is not a flaw, but another way of being. Previously, my artistic research mainly focused on philosophy and physics — broad, external themes. After being diagnosed with autism, I realized the meaning of exploration life not only in observing the universe outside, but also in perceiving one’s own existence inside.

    Each person observes the world through a unique identity, experience, and sensory lens. As someone on the autism spectrum, I hope to use art to record and translate this perception. I believe art is a medium of understanding, acceptation, and embraced.

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  • Stillness That Moves

    To be honest, my first reason for applying to the DPS program was quite practical. My health condition wasn’t good, and I wanted to stay in my home country to recover. Besides, I thought some internship experience would help me apply for graduate school.

    Yet while filling the DPS application form, I realized what I truly needed this one- year time itself. I am going to enter my final undergraduate year.  Although I had done well in all my previous units that mostly earning A’s, I didn’t feel ready to graduate. I was confused about my career direction, and more importantly, I didn’t really understand myself:

    Why do I want to go to graduate school? What do I want to do in the future? Where do I want to live? Why am I even alive?

    ……

    I had no answers. 

    I feared time was running too fast, and I wasn’t ready for the future. So in a way, I used DPS as a way to delay facing it, a “gap year” to hide in, rather than a brave challenge.

    But once the year truly began, everything turned out completely different from what I had imagined — far more rewarding than I imagined. Besides the professional experience I gained, I also found the answers I’d been searching for and many new chances.

    The first project I joined in my placement was an exhibition about ancient Chinese cosmology, which is a subject I’ve long been fascinated by. It deeply inspired me and reawakened my desire for research. I realized how wondrous the universe is, and I want to continuously explore it through art — not just within Chinese philosophy, but across different civilizations in the world. This confirmed my decision to pursue graduate study, where can help me to continue this exploration on a broader platform.

    At the same time, as I met more art professionals, I started to think seriously about possible career paths after graduate school. Perhaps as an independent artist, a curator, an art  investment consultant, or even starting my own brand. I began taking small steps, like accepting online commissions for handmade crafts. It was stressful, as I always worried about clients wouldn’t be satisfied, and I was struggling to balance the time between work and creation. but I know that every career begins with uncertainty, and persistence brings growth.

    Now I feel my life became positive and energetic. During my three-hour commute, I’ve also developed a new habit that listening to audiobooks. Lately, I’ve been listening to Tao Te Ching （a foundational texts of ancient Chinese philosophy）written by Laozi as my research. Laozi teaches that everything is relative, and he named the origin and return of all things “Tao.”

    In Chapter 15, he writes:

    “混而能静，澄之徐清；安以动之，徐生。”

    “When turbid, remain still, and the water will slowly clear;

    When at peace, let movement arise, and life will slowly unfold.”

    I was deeply moved by this fantastic idea. I realized the mind must stay calm to be clear; when the heart becomes clear, action flows naturally, bringing genuine vitality. 

    Now I feel like a clear stream — peaceful, with clear goals and no longer anxious; yet driven by purpose, I keep moving, learning, and exploring, each day filled with quiet energy. Though the DPS year may seem still on the surface, it carries immense power inside, bringing vitality and possibilities.

    I’ve finally understood that major study, career, and life are not separated,  but as the “stillness and motion” mentioned by Laozi—they complete and transform each other.

    Through exploring art and the world, I’m also discovering and refining myself, which is the true purpose of living.

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  • Persisting, Observing, and Practicing: Experience of Internship at UCCA

    Persistence

    Since April this year, I have been continuously revising my portfolio and CV, sending applications to ten art institutions. At first, I received internship offers from two fashion brands, a game company, and three art museums. However, the company I desired best—UCCA Center for Contemporary Art—still haven’t reply.

    Founded in Beijing by the Ullens couple, UCCA is China’s top contemporary art institutions and also my favorite museum. It has hosted many solo exhibitions of global famous artists, such as Lubaina Himid and Lawrence Weiner. My desire to intern there not only because its curatorial excellence, but also because I believe the opportunity to learn within a professional and intellectually vibrant environment.

    UCCA webside: https://ucca.org.cn

    I first applied through UCCA’s website in June, updated my portfolio and reapplied in July, but received no response. Although I felt anxious and discouraged, knowing the competition was fierce, I applied a third time in August—and a week later received an interview invitation. During the interview, my supervisor told me UCCA had no plan to recruit interns in June and July, but new projects had just opened positions, and my email happened to appear at the top of their inbox. That experience taught me that no reply doesn’t mean rejection,  persistence and sincerity can create opportunities.

    Observation

    I am currently interning in the UCCA Lab department, which curates collaborative art projects between UCCA and government and various brands, such as Prada, Arc’teryx, and Lenovo. Over the past two months,I have participated in five projects and gained valuable experience.

    Firstly, I developed new graphic design skills. Previously, I only used Photoshop, but many projects required editing AI-format posters and InDesign layouts. To meet these needs, I learned AI and ID by myself. During this process, I often asked technical problems to ChatGPT—it has become my most reliable learning companion. Through continuous practice, I am now proficient in both design software and in using artificial intelligence tools. This improvement has made me more efficient in my internship and made a solid foundation for creating my own publications in the future.

    More importantly, this internship revealed the complex structure behind art projects. Although as an intern, my work mainly involves execution rather than innovation or decision-making, I have learned about the entire process of turning a curatorial concept into an actual exhibition.

    I used to think that curation was simply about spatial design and artwork arrangement. However, I now see that my supervisors must also communicate constantly with government partners and sponsors, refine proposals, collaborate with design studios on visual systems, and handle logistics such as transport and travel. My duties include creating visual designs based on the main visual systems, designing goods, confirming caption with artists…… 

    Practice

    This experience completely reshaped my previous “bias”of curation. It is not merely an artistic idea, but a collaborative and highly coordinated system involving multiple departments. The experiences, methods, and insights I have gained here will continue to influence my future studies and creative practice. 

    At present, I plan to work at UCCA Lab for three months, then apply for another department at UCCA or seek new internship opportunities in London. I hope that through experiencing different professional and cultural environments, I can broaden my perspective, challenge my own biases, and make my artistic practice more open and inclusive.

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