b. 1991, Changsha, China
Lives and works in Shanghai, China

Wang Ye works in multi-media projects that combine video, sculpture, handicraft, and installation. He draws inspirations from folk art as cultural heritage often reveals how aesthetic and value form and evolve. The artist learned traditional fishing net knitting from his hometown. Currently, he is studying the Hunan Embroidery technique.

Wang Ye graduated from the Design Department of Central Academy of Fine Arts in 2013 in Beijing. In 2017, he graduated with a Masters of Fine Arts from the Sculpture Department of Yale University School of Art. Recent exhibitions include ‘Expeditionary Botanics’, Long March Independent Space, Beijing, China (2024); ‘Ode to the Unexpected’, MadeIn Gallery, Shanghai, China(2024); ‘You Spin Me Round Like a Record’, Cloud Art Museum, Huizhou, China (2023); ‘X Museum Triennial 2023: Home is Where the Haunt is’, X Museum, Beijing, China (2023); ‘To Your Eternity - the 4th Future of Today Biennial’, Today Art Museum, Beijing, China (2023); ‘YY OS Gold Canopy’, Yve YANG, New York, USA (2022); ‘Fusion’, by World Wide Fund for Nature, West Bund Art Centre, Shanghai, China (2019); ‘Time Square’, Yve YANG, New York, USA (2018); ‘Americans 2017’, by 89 Plus, LUMA Westbau, Zurich, Switzerland (2017).

The series featuring the work Moth (2022) draws from the artist's childhood memories. Moth incorporates a rusted iron window guard from his ancestral home. He recalls an extraordinary encounter with an unusually large moth resting on this guard, a sight that as a child instilled a profound sense of fear, prompting him to flee. This singular experience never repeated, leading to a contemplation of the memory’s authenticity—whether it was a dreamlike impression or a childhood distortion of scale. Guided by this nebulous recollection, the artist identified the moth species as possibly the lesser Atlas moth (Samia Wangi). He remains uncertain about the etymology behind the lesser Atlas moth’s nomenclature, yet it has evolved into a symbolic self-projection.

The Embroidernity series originates from the poignant recollections of the artist's embroidery instructor, Auntie Li. Auntie Li came from a distinguished lineage of Xiang embroidery artisans. In 1989, to commemorate the 5th anniversary of the sister-city alliance between Changsha and Kagoshima, she participated as a representative in the Greater China Commodity Exhibition in Kagoshima, hosted at the Mitsukoshi Department Store. There, Auntie Li meticulously demonstrated the venerable techniques and intricate processes of Xiang embroidery. This was Auntie Li’s only experience abroad, and this ‘dreamlike journey’ has lingered in her mind ever since. In an evocative continuation of her legacy, the artist collaborates with Auntie Li to reimagine this episode, envisioning a convergence of tradition and modernity. Together, they transport the practice of ‘ancient replication’ in embroidery into a speculative realm, where it intersects with and revives five quintessential modernist masterpieces.

b. 1991, Changsha, China
Lives and works in Shanghai, China

Wang Ye works in multi-media projects that combine video, sculpture, handicraft, and installation. He draws inspirations from folk art as cultural heritage often reveals how aesthetic and value form and evolve. The artist learned traditional fishing net knitting from his hometown. Currently, he is studying the Hunan Embroidery technique.

Wang Ye graduated from the Design Department of Central Academy of Fine Arts in 2013 in Beijing. In 2017, he graduated with a Masters of Fine Arts from the Sculpture Department of Yale University School of Art. Recent exhibitions include ‘Expeditionary Botanics’, Long March Independent Space, Beijing, China (2024); ‘Ode to the Unexpected’, MadeIn Gallery, Shanghai, China(2024); ‘You Spin Me Round Like a Record’, Cloud Art Museum, Huizhou, China (2023); ‘X Museum Triennial 2023: Home is Where the Haunt is’, X Museum, Beijing, China (2023); ‘To Your Eternity - the 4th Future of Today Biennial’, Today Art Museum, Beijing, China (2023); ‘YY OS Gold Canopy’, Yve YANG, New York, USA (2022); ‘Fusion’, by World Wide Fund for Nature, West Bund Art Centre, Shanghai, China (2019); ‘Time Square’, Yve YANG, New York, USA (2018); ‘Americans 2017’, by 89 Plus, LUMA Westbau, Zurich, Switzerland (2017).

The series featuring the work Moth (2022) draws from the artist's childhood memories. Moth incorporates a rusted iron window guard from his ancestral home. He recalls an extraordinary encounter with an unusually large moth resting on this guard, a sight that as a child instilled a profound sense of fear, prompting him to flee. This singular experience never repeated, leading to a contemplation of the memory’s authenticity—whether it was a dreamlike impression or a childhood distortion of scale. Guided by this nebulous recollection, the artist identified the moth species as possibly the lesser Atlas moth (Samia Wangi). He remains uncertain about the etymology behind the lesser Atlas moth’s nomenclature, yet it has evolved into a symbolic self-projection.

The Embroidernity series originates from the poignant recollections of the artist's embroidery instructor, Auntie Li. Auntie Li came from a distinguished lineage of Xiang embroidery artisans. In 1989, to commemorate the 5th anniversary of the sister-city alliance between Changsha and Kagoshima, she participated as a representative in the Greater China Commodity Exhibition in Kagoshima, hosted at the Mitsukoshi Department Store. There, Auntie Li meticulously demonstrated the venerable techniques and intricate processes of Xiang embroidery. This was Auntie Li’s only experience abroad, and this ‘dreamlike journey’ has lingered in her mind ever since. In an evocative continuation of her legacy, the artist collaborates with Auntie Li to reimagine this episode, envisioning a convergence of tradition and modernity. Together, they transport the practice of ‘ancient replication’ in embroidery into a speculative realm, where it intersects with and revives five quintessential modernist masterpieces.

b. 1991, Changsha, China
Lives and works in Shanghai, China

Wang Ye works in multi-media projects that combine video, sculpture, handicraft, and installation. He draws inspirations from folk art as cultural heritage often reveals how aesthetic and value form and evolve. The artist learned traditional fishing net knitting from his hometown. Currently, he is studying the Hunan Embroidery technique.

Wang Ye graduated from the Design Department of Central Academy of Fine Arts in 2013 in Beijing. In 2017, he graduated with a Masters of Fine Arts from the Sculpture Department of Yale University School of Art. Recent exhibitions include ‘Expeditionary Botanics’, Long March Independent Space, Beijing, China (2024); ‘Ode to the Unexpected’, MadeIn Gallery, Shanghai, China(2024); ‘You Spin Me Round Like a Record’, Cloud Art Museum, Huizhou, China (2023); ‘X Museum Triennial 2023: Home is Where the Haunt is’, X Museum, Beijing, China (2023); ‘To Your Eternity - the 4th Future of Today Biennial’, Today Art Museum, Beijing, China (2023); ‘YY OS Gold Canopy’, Yve YANG, New York, USA (2022); ‘Fusion’, by World Wide Fund for Nature, West Bund Art Centre, Shanghai, China (2019); ‘Time Square’, Yve YANG, New York, USA (2018); ‘Americans 2017’, by 89 Plus, LUMA Westbau, Zurich, Switzerland (2017).

The series featuring the work Moth (2022) draws from the artist's childhood memories. Moth incorporates a rusted iron window guard from his ancestral home. He recalls an extraordinary encounter with an unusually large moth resting on this guard, a sight that as a child instilled a profound sense of fear, prompting him to flee. This singular experience never repeated, leading to a contemplation of the memory’s authenticity—whether it was a dreamlike impression or a childhood distortion of scale. Guided by this nebulous recollection, the artist identified the moth species as possibly the lesser Atlas moth (Samia Wangi). He remains uncertain about the etymology behind the lesser Atlas moth’s nomenclature, yet it has evolved into a symbolic self-projection.

The Embroidernity series originates from the poignant recollections of the artist's embroidery instructor, Auntie Li. Auntie Li came from a distinguished lineage of Xiang embroidery artisans. In 1989, to commemorate the 5th anniversary of the sister-city alliance between Changsha and Kagoshima, she participated as a representative in the Greater China Commodity Exhibition in Kagoshima, hosted at the Mitsukoshi Department Store. There, Auntie Li meticulously demonstrated the venerable techniques and intricate processes of Xiang embroidery. This was Auntie Li’s only experience abroad, and this ‘dreamlike journey’ has lingered in her mind ever since. In an evocative continuation of her legacy, the artist collaborates with Auntie Li to reimagine this episode, envisioning a convergence of tradition and modernity. Together, they transport the practice of ‘ancient replication’ in embroidery into a speculative realm, where it intersects with and revives five quintessential modernist masterpieces.