b. 1993, Changsha, China
Lives and works in Changsha, China

The motifs of Huang Tinglan’s work are related to space and existence, often portraying how individuals interact with space through representation of the placement and condition of furniture and objects within it. By depicting the relationships among items within interior spaces, Her work is trying to describe interpersonal dynamics and social relationships in external spaces. This series of works are characterized by exaggerated colors and intricate textile patterns, primarily employing techniques of tapestry and double weaving.

Huang Tinglan is a mix-media sculptor and textile artist. She received her MFA from the Rinehart School of Sculpture at the Maryland Institute College of Art; and her BFA in animation at LuXun Academy of Fine Arts, China. Her artworks have been exhibited in galleries in New York, Beijing, Shenyang, Baltimore, and London. In 2021-2022, as an artist in residence, she participated in a year-long program at the Textile Arts Center in New York.

Huang Tinglan's work has always revolved around life scenes drawn from both past and present experiences. Spatial objects are central to her artistic practice. She considers that human activities reconfigure the entire space through the arrangement of furniture, the placement of objects, and even the traces of use. At the same time, the space also reveals stories of associated individuals. The concept of the ‘box’ runs through all of the artist’s current textile works. She likes to describe people's living spaces as boxes. The box does not merely refer to a confined space in reality, it also represents the intangible boxes woven by our life trajectories. These boxes are characterized by their softness, gradually accruing layers that provide protection while simultaneously imposing invisible constraints.

In Place, Non-place I (2022) and The Exit (2022), the artist draws upon the spatial environments of her apartment and part-time workplace in New York City. She attempts to present the relationship between the subjects and their associated colors. Employing traditional double-weaving techniques, the interplay of two-colored warps establishes the foundational framework for the work's chiaroscuro effects. She believes that the multi-layered structure created by double-weaving is akin to a folded and compressed space, within which she exists.

Place, Non-place I (2022) encapsulates the dual function of the artist’s compact New York apartment, which served both as a living space and a studio. The dual function of this box-like space erases the boundaries between domesticity and work, engendering alternating sensations of security and suffocation. This artwork integrates elements such as the artist’s furniture, pets, and everyday life, utilizing a color scheme predominantly composed of purples and greens.

The scene from The Exit (2022) was taken from the artist's part-time workplace in New York. She describes living in New York as navigating through variously scaled boxes, devoid of privacy or interstice. Yet, intermittently, the intrusion of radiant beams upon these box windows affords fleeting seclusion. The brilliance unveils a pristine realm, wherein neither can one perceive the exterior nor can the exterior discern one’s presence. In front of the windows are neatly arranged high-backed chairs. For a moment, it seems as if these chairs are filled with people, queueing in aspiration to step into the light. Within two brief minutes, however, the architectural obstruction eclipses the luminous intensity, reinstating the perception of closely packed boxes beyond the windowpane.

Behind the Reflection (2024) is the artist's first large-scale work following her return to China. It reflects upon her relocation to a studio with a semi-industrial environment dominated by factories and courier sorting facilities. This work expands upon narratives situated outside the box. The nocturnal landscape, characterized by its pervasive darkness and tranquility, is intermittently interrupted by the bright illumination of her studio. Whenever the artist, in habitual repose, gazes out the window, she only sees the overlapping reflection of herself and her studio on the glass. The sole visible scene is the light from a distant apartment, merging seamlessly with the window’s mirrored image, creating a juxtaposition of interior and exterior realms. Here, the spatial environment is no longer compressed but rather extended, leading her to adopt single-sided weaving techniques characterized by richer and softer hues. While the central motifs remain anchored in architectural and furniture elements, this piece incorporates additional human anatomical elements and natural landscapes, inspired by her recent travel experiences.

The work unfolds with narratives outside the box. The living space is no longer compressed but spread out, leading the artist to choose single-sided weaving instead of double-sided weaving. The color selection has also become richer, while the light and shadow in the work are softer and clearer. The subject matters still focus on architecture and furniture, yet the artist has added some elements of human limbs, as well as natural scenery, inspired by her travel experiences in the past six months since her return to China.

b. 1993, Changsha, China
Lives and works in Changsha, China

The motifs of Huang Tinglan’s work are related to space and existence, often portraying how individuals interact with space through representation of the placement and condition of furniture and objects within it. By depicting the relationships among items within interior spaces, Her work is trying to describe interpersonal dynamics and social relationships in external spaces. This series of works are characterized by exaggerated colors and intricate textile patterns, primarily employing techniques of tapestry and double weaving.

Huang Tinglan is a mix-media sculptor and textile artist. She received her MFA from the Rinehart School of Sculpture at the Maryland Institute College of Art; and her BFA in animation at LuXun Academy of Fine Arts, China. Her artworks have been exhibited in galleries in New York, Beijing, Shenyang, Baltimore, and London. In 2021-2022, as an artist in residence, she participated in a year-long program at the Textile Arts Center in New York.

Huang Tinglan's work has always revolved around life scenes drawn from both past and present experiences. Spatial objects are central to her artistic practice. She considers that human activities reconfigure the entire space through the arrangement of furniture, the placement of objects, and even the traces of use. At the same time, the space also reveals stories of associated individuals. The concept of the ‘box’ runs through all of the artist’s current textile works. She likes to describe people's living spaces as boxes. The box does not merely refer to a confined space in reality, it also represents the intangible boxes woven by our life trajectories. These boxes are characterized by their softness, gradually accruing layers that provide protection while simultaneously imposing invisible constraints.

In Place, Non-place I (2022) and The Exit (2022), the artist draws upon the spatial environments of her apartment and part-time workplace in New York City. She attempts to present the relationship between the subjects and their associated colors. Employing traditional double-weaving techniques, the interplay of two-colored warps establishes the foundational framework for the work's chiaroscuro effects. She believes that the multi-layered structure created by double-weaving is akin to a folded and compressed space, within which she exists.

Place, Non-place I (2022) encapsulates the dual function of the artist’s compact New York apartment, which served both as a living space and a studio. The dual function of this box-like space erases the boundaries between domesticity and work, engendering alternating sensations of security and suffocation. This artwork integrates elements such as the artist’s furniture, pets, and everyday life, utilizing a color scheme predominantly composed of purples and greens.

The scene from The Exit (2022) was taken from the artist's part-time workplace in New York. She describes living in New York as navigating through variously scaled boxes, devoid of privacy or interstice. Yet, intermittently, the intrusion of radiant beams upon these box windows affords fleeting seclusion. The brilliance unveils a pristine realm, wherein neither can one perceive the exterior nor can the exterior discern one’s presence. In front of the windows are neatly arranged high-backed chairs. For a moment, it seems as if these chairs are filled with people, queueing in aspiration to step into the light. Within two brief minutes, however, the architectural obstruction eclipses the luminous intensity, reinstating the perception of closely packed boxes beyond the windowpane.

Behind the Reflection (2024) is the artist's first large-scale work following her return to China. It reflects upon her relocation to a studio with a semi-industrial environment dominated by factories and courier sorting facilities. This work expands upon narratives situated outside the box. The nocturnal landscape, characterized by its pervasive darkness and tranquility, is intermittently interrupted by the bright illumination of her studio. Whenever the artist, in habitual repose, gazes out the window, she only sees the overlapping reflection of herself and her studio on the glass. The sole visible scene is the light from a distant apartment, merging seamlessly with the window’s mirrored image, creating a juxtaposition of interior and exterior realms. Here, the spatial environment is no longer compressed but rather extended, leading her to adopt single-sided weaving techniques characterized by richer and softer hues. While the central motifs remain anchored in architectural and furniture elements, this piece incorporates additional human anatomical elements and natural landscapes, inspired by her recent travel experiences.

The work unfolds with narratives outside the box. The living space is no longer compressed but spread out, leading the artist to choose single-sided weaving instead of double-sided weaving. The color selection has also become richer, while the light and shadow in the work are softer and clearer. The subject matters still focus on architecture and furniture, yet the artist has added some elements of human limbs, as well as natural scenery, inspired by her travel experiences in the past six months since her return to China.

b. 1993, Changsha, China
Lives and works in Changsha, China

The motifs of Huang Tinglan’s work are related to space and existence, often portraying how individuals interact with space through representation of the placement and condition of furniture and objects within it. By depicting the relationships among items within interior spaces, Her work is trying to describe interpersonal dynamics and social relationships in external spaces. This series of works are characterized by exaggerated colors and intricate textile patterns, primarily employing techniques of tapestry and double weaving.

Huang Tinglan is a mix-media sculptor and textile artist. She received her MFA from the Rinehart School of Sculpture at the Maryland Institute College of Art; and her BFA in animation at LuXun Academy of Fine Arts, China. Her artworks have been exhibited in galleries in New York, Beijing, Shenyang, Baltimore, and London. In 2021-2022, as an artist in residence, she participated in a year-long program at the Textile Arts Center in New York.

Huang Tinglan's work has always revolved around life scenes drawn from both past and present experiences. Spatial objects are central to her artistic practice. She considers that human activities reconfigure the entire space through the arrangement of furniture, the placement of objects, and even the traces of use. At the same time, the space also reveals stories of associated individuals. The concept of the ‘box’ runs through all of the artist’s current textile works. She likes to describe people's living spaces as boxes. The box does not merely refer to a confined space in reality, it also represents the intangible boxes woven by our life trajectories. These boxes are characterized by their softness, gradually accruing layers that provide protection while simultaneously imposing invisible constraints.

In Place, Non-place I (2022) and The Exit (2022), the artist draws upon the spatial environments of her apartment and part-time workplace in New York City. She attempts to present the relationship between the subjects and their associated colors. Employing traditional double-weaving techniques, the interplay of two-colored warps establishes the foundational framework for the work's chiaroscuro effects. She believes that the multi-layered structure created by double-weaving is akin to a folded and compressed space, within which she exists.

Place, Non-place I (2022) encapsulates the dual function of the artist’s compact New York apartment, which served both as a living space and a studio. The dual function of this box-like space erases the boundaries between domesticity and work, engendering alternating sensations of security and suffocation. This artwork integrates elements such as the artist’s furniture, pets, and everyday life, utilizing a color scheme predominantly composed of purples and greens.

The scene from The Exit (2022) was taken from the artist's part-time workplace in New York. She describes living in New York as navigating through variously scaled boxes, devoid of privacy or interstice. Yet, intermittently, the intrusion of radiant beams upon these box windows affords fleeting seclusion. The brilliance unveils a pristine realm, wherein neither can one perceive the exterior nor can the exterior discern one’s presence. In front of the windows are neatly arranged high-backed chairs. For a moment, it seems as if these chairs are filled with people, queueing in aspiration to step into the light. Within two brief minutes, however, the architectural obstruction eclipses the luminous intensity, reinstating the perception of closely packed boxes beyond the windowpane.

Behind the Reflection (2024) is the artist's first large-scale work following her return to China. It reflects upon her relocation to a studio with a semi-industrial environment dominated by factories and courier sorting facilities. This work expands upon narratives situated outside the box. The nocturnal landscape, characterized by its pervasive darkness and tranquility, is intermittently interrupted by the bright illumination of her studio. Whenever the artist, in habitual repose, gazes out the window, she only sees the overlapping reflection of herself and her studio on the glass. The sole visible scene is the light from a distant apartment, merging seamlessly with the window’s mirrored image, creating a juxtaposition of interior and exterior realms. Here, the spatial environment is no longer compressed but rather extended, leading her to adopt single-sided weaving techniques characterized by richer and softer hues. While the central motifs remain anchored in architectural and furniture elements, this piece incorporates additional human anatomical elements and natural landscapes, inspired by her recent travel experiences.

The work unfolds with narratives outside the box. The living space is no longer compressed but spread out, leading the artist to choose single-sided weaving instead of double-sided weaving. The color selection has also become richer, while the light and shadow in the work are softer and clearer. The subject matters still focus on architecture and furniture, yet the artist has added some elements of human limbs, as well as natural scenery, inspired by her travel experiences in the past six months since her return to China.