# WangYi
> Follow @wangyiis on Micro.blog.
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# Paintings2025
*2026-04-02* — https://wangyi.studio/2026/04/02/paintings.html
I use paintings as open fields where memories, objects and bodies encounter each other. As I move from one painting to another, secrets show their forms, friends stand by myside, obscure feelings find their words. Yes. I keep a written journal between paintings. As I do not have a separate studio but a guest room, the journal is my studio.
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# Paintings 2024
*2026-03-10* — https://wangyi.studio/2026/03/10/170229.html
Color is a kind of material. I rarely adjust colors; instead, by modulating the relationships between colors and the interplay between pigment and canvas material, I allow color to realize the psychological effect present at the moment of caring behavior: contemplative, quiet, dazzling.
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# Paintings 2023
*2026-03-10* — https://wangyi.studio/2026/03/10/paintings.html
I am captivated by the moments when consciousness is deeply entwined with the body, informed by personal memories, literary research, and written narratives, delving into themes of balance, support, and symbiosis within these paintings.
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# I’m Not Living in Your Heart
*2026-03-10* — https://wangyi.studio/2026/03/10/im-not-living-in-your.html
Photos and notes
2023
A single sentence from my daughter during a family trip serves as an insightful observation about “becoming a mother.”
“I don’t live in your heart,” she said with a laugh, leaving her mother speechless. Throughout our travels, this thought had weighed heavily on her mind, and finally, during a walk in the park, she chose to express it by writing the words on stones, pine cones, fallen leaves, and tree trunks along the path.
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# To Zunyi
*2026-03-10* — https://wangyi.studio/2026/03/10/to-zunyi.html
2021
Paintings, a transient exhibition
“To Zunyi” represents a 45-day residency at home. While her parents had never acknowledged her artistic pursuits, they also never explicitly opposed them. By transforming the guest room into a temporary studio, she subtly integrated painting into her parents’ daily lives, allowing scenes from their casual strolls to seamlessly enter her artwork. Throughout this process, her parents’ attitudes began to shift; her father, once the most resistant, actively assisted in the temporary exhibition by the project's conclusion.
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# Swirl
*2026-03-10* — https://wangyi.studio/2026/03/09/moms-hand.html
2023 -2026
Ceramic Sculptures
“Swirl" explores a feminine trajectory within sculptural discourse. This series, Swirl, consists of hand-built figurative ceramic heads. No molds. I work directly in clay. The title names the sculptural problem: flesh and bone under pressure—the swirl where volume gives way. When clay is pushed, pressed, and allowed to collapse, volume deforms like a body under the hand—weight, softness, the point of yield. The surface is not smoothed, just like how memory works. It keeps the press, the collapse—the place where the clay gave way. Rather than made for display, these heads are held—the touch that forms them is the touch that receives them when I held my baby.
The sculpture vocabulary comes from caring for an infant: supporting, adjusting, the press of a palm, fitting. These gestures shaped my judgment of volume before I had words for them. Motherhood did not interrupt the practice—it supplied the physical knowledge Swirl rests on.
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# Fragmentation Occurs
*2026-03-09* — https://wangyi.studio/2026/03/08/fragmentation-occurs.html
Fragmentation Occurs is a temporary installation at Jingdezhen, China.
Why must we see fragmentation as a flaw?
These fractured surfaces should be striking;
They represent rebirth.
Date: 2025.08.01 _2026.07.30
