"I aim to reveal the emotional depth in everyday objects, unlocking their potential to communicate complex feelings."
Jingyi's Instagram: @1999jingyili
How and when did you know you wanted to be an artist?
As a child, I loved to draw, but as I grew older, I realized that drawing alone couldn’t fully express my emotions. This led me to pursue studies at art schools, where I explored various creative methods. Eventually, I discovered a deeper connection with soft materials, which allowed me to better convey my thoughts and feelings.
What was your experience of art school?
I completed my undergraduate studies in Craft Art at Tsinghua University, Beijing, where I was exposed to a wide range of materials and techniques. Since 2018, I have been exploring “Power of the Soft” focusing on the emotional resonance of soft materials in daily life.
At the Royal College of Art, I was encouraged to dive deeper into research. My work, *The Yellow Vessel*, uses silk sculptures to explore how East Asian women are culturally viewed, referencing the female body through the forms of traditional vessels.
I’m currently research in Goldsmiths University, and my proposed research will aim to examine the material culture of women’s home-based fibre arts from an anthropological perspective, focusing on anonymous labour and material accumulation in knitting and sewing.
Can you tell us more about the ideas and inspiration behind your work?
My work explores emotions, histories, and experiences through the use of soft, unconventional materials. I aim to reveal the emotional depth in everyday objects, unlocking their potential to communicate complex feelings. In my recent series, *The Hidden Drawer*, I delve into the subtle eroticism of domestic life. By entwining traditionally feminine objects with handmade lace, I seek to embrace and reframe their meaning, transforming them into intimate expressions of the female experience within the domestic space.
Are there other artists or movements that have inspired your work?
I am deeply inspired by artists like Beili Liu and Cornelia Parker. Beili Liu’s use of installation and soft materials to explore cultural identity and memory resonates with my own focus on feminine narratives and the power of the everyday. Cornelia Parker’s ability to transform ordinary objects into profound statements about fragility and tension also influences my work. Both artists push the boundaries of material and meaning, which aligns with my exploration of soft materials and their emotional resonance, especially in relation to women’s stories and the hidden layers of domestic life.
Can you describe a typical day in the studio? How do you approach your work?
My work typically follows a long process, with much time spent on embroidery or weaving. Since my approach varies across different stages, it’s not always precise to describe a typical day. In the early phase, I focus on research and experimentation, fully immersing myself in the creative process. Once I have a clear vision, my routine becomes more relaxed—I often listen to podcasts or audiobooks while weaving. This balance of focused intensity and rhythmic work allows me to engage deeply with the materials and ideas I’m exploring.