Xiang Jing


Xiang Jing was born in Beijing in 1968 and graduated from the faculty of sculpture, Central Academy of Fine Arts in 1995. She taught at the Sculpture Studio of the Fine Arts College, Shanghai Normal University from 1999 to 2007. Xiang now works and lives in Beijing.

Xiang’s artwork reveals a sense of insecurity through which the misty nature of the modern human character and life itself are accentuated and reified. Xiang Jing seeks after the existential truth of life through her continued investigation of “internality” in her work. Though Xiang Jing has been viewed as a “feminist” artist, she is perhaps more accurately described as an artist with a woman’s viewpoint who is conscious of the female perspective.

Xiang Jing’s methodology is problem-oriented; although the realist sculpting language in which Xiang’s works are conducted has been marginalized as of today, she has made idiosyncratic, powerful, and influential modernistic experiments within that artistic language framework by giving each of her sculptures individual appearance and character, hand-painting her sculpture, and choosing fiberglass as her principle material. These innovative efforts engender an impression of her work that is “representational and realist on the exterior, but highly contemplative and inquisitive in the internality of human nature”. Xiang Jing and her work are not taken lightly in any serious discussion on academic topics such as “modernity vs. traditional medium”, “the female identity and the universal human nature”, “to observe and to be observed”, or “internal desire”.

In four successive phases of solo exhibitions, “Mirror Image” (1999-2002), “Keep in Silence” (2003-2005), “Naked Beyond Skin” (2006-2008), “Will Things Ever Get Better?” (2009-2011), Xiang Jing is highly reflective of issues related to identity, psychological state, and body. Some of her most significant works include Bang! (2002), Your Body (2005), The Open (2006), Are A Hundred Playing You? Or Only One? (2007), Mortals-Endless Tower (2011), Otherworld-Will Things Ever Get Better? (2011), Otherworld-The Silver Age (2011). In the first few of these phases, the “Virgin Series” and the “Body Series” (works in the “Keep in Silence” phase) demonstrate the gradual maturation of Xiang’s artistic language. This process is