Artist/CV

My work began as a visual exploration of abstract concepts, memories, and emotions, combined with observations and sketches of natural environments. While painting remains my core practice, I have expanded into mediums such as printmaking, installation, and zines. Through a process of restructuring experimental narratives and pictorial frameworks, “plants” gradually emerged as a crucial thread in my work.

In my latest series, ‘Sacred Lichens’, I engage with lichen—tiny yet complex symbiotic organisms—through hiking, collecting, and observing them under a low-power microscope. This practice of gazing serves not only as a method of scientific observation but also as a metaphysical path toward religious symbolism and spiritual nature. By incorporating imagery of plants (species, branches, trees), water, and the “center” from different religious traditions, I use these elements as metaphors for the sacred or the chaotic, echoing the complexity of lichen as an organism. At the same time, I integrate pictorial schemas from traditional Chinese painting, seeking to develop a personal contemporary experimental language with Eastern characteristics.

I primarily work with acrylic on large-scale, translucent synthetic fabrics, displaying the pieces by hanging them to create a floating, semi-transparent visual presence in space. In some exhibition versions, I incorporate interactive sound installations to heighten the tension between nature and artifice, fragility and sanctity that the work addresses.

On a pictorial level, my practice may appear representational, yet it consistently revolves around formal ambiguity and indeterminate identity. Lichen, as a symbiosis of fungus and algae, inherently exists on the boundaries of classification and form. This “non-singularity” becomes a key entry point for my exploration of non-anthropocentrism and experiences of the sacred.

我的创作始于对抽象概念、记忆与情绪的图像化探索，以及对自然环境的观察与写生。我以绘画为核心，同时延展至版画、装置、艺术书等媒介，在对实验性叙事与图像结构的重构过程中，逐步确立了“植物”作为我创作的重要线索。

在我创作最新的系列《神圣地衣》时,我通过徒步捡拾、使用低倍显微镜凝视地衣这一微小却又复杂的共生生物。这种实践与凝视不仅作为一种科学层面的观察方法,也成为了我通往宗教象征、灵性自然的形而上路径。我将不同宗教传统中关于植物(物种、树枝、树等)、水与“中心”的意象，作为神圣或混沌的隐喻回应了地衣这个物种的复杂性。同时，我也引入了传统中国画的图式，试图创造一种具有东方性的个人当代实验语言。

我主要使用丙烯在大尺寸的人造透明面料上进行绘画，并通过悬挂的方式来展示，使作品在空间中形成半透明、漂浮的视觉状态。部分展览版本结合互动声音等装置，以强化作品所指向的自然与人造物、脆弱与神圣之间的张力。

我的实践在图像层面看似具象，却始终围绕形态的模糊性与身份的未定性展开。地衣作为真菌与藻类的共生体，天然处于分类与形态的边界之上。这种“非单一性”成为我讨论人类非中心主义与神圣经验的关键入口。

Yuqing Zhang(b.1999, Sichuan),graduated from China Academy of Art in 2022 with a Bachelor of Arts in Animation(Illustration and Cartoon),and completed a Master of Arts in Fine art:Painting at Camberwell College of Arts,University of the Arts London in 2025.

Group Exhibition

2026, Space of Becoming, Jinhua Culture & Tourism / YUNER, Jinhua, Zhejiang

2025, Bridges, Luminor Art Gallery, London; Postgraduate Show, Camberwell College of Arts, London; Seeking, Camberwell College of Arts, London; Pop-up Show, Millbank Tower, London

2024, ‘Feasibility — 2024 Sichuan Watercolour Annual Exhibition’, Sichuan Artists Association, Zigong

2023, Wild Youth Art Fair, Between Art Lab, Hangzhou & Beijing

2022,‘ Vital Force — The 4th Zhijiang International Youth Art Week’, Zhejiang Exhibition Hall, Hangzhou

2021, ‘Zine & Illustration Art Festival’, Big Roof Culture, Hangzhou

2020, ‘Growing Together — The Second Cross-Strait Art Colleges Graduation Exhibition’, China Academy of Art, Hangzhou

2019, ‘Midsummer ’s Dream‘, China Academy of Art, Hangzhou

2015, Suining Art Exhibition, Suining Artists Association, Suining

张钰卿，1999年生于四川，2022年毕业于中国美术学院动画（插画与漫画）专业并获得艺术学学位，2025年硕士毕业于伦敦艺术大学坎伯韦尔艺术学院纯艺术绘画专业,并获文学硕士学位。

参展经历：

2026年,“生长的空间”，金华文旅&允儿空间,浙江金华

2025年,Bridges,Luminior Art Gallery,伦敦； Postgraduate show,坎伯韦尔艺术学院,伦敦； Seeking,坎伯韦尔艺术学院,伦敦;pop-up show,米尔班克大厦,伦敦

2024年，“可行性—2024四川水彩画年度展”,四川省美术家协会，自贡

2023年, 野生青年艺术节,岛间当代艺术,杭州&北京

2022年, “生活力·第四届之江国际青年艺术周”,浙江展览馆,杭州

2021年, 造像艺术节,大屋顶文化,杭州

2020年, 丛生-第二届两岸艺术院校优秀毕业作品联展,中国美术学院，杭州

2019年,“仲夏之梦”,中国美术学院专业基础教学部，杭州

2015年,遂宁市美术作品展,遂宁市美术家协会，遂宁