Pei-Chi Lee🍑

A Cloud Made of Rain in The Wind 風中有朵雨做的雲 is a site-responsive installation and performance by Pei-Chi Lee (@pepperchilee ), presented at Greenham Common Control Tower last August 2025. Developed in collaboration with performer Ting-Ning Wen (@gladyswen ), who contributed to the early exploration of movement studies, and later with filmmaker Can Köroğlu (@cankoroglu ), who shaped its narrative language through film, the work evolved through a shared and evolving process. Kite-like banners and abstracted flag signals hover as signs of ambiguity rather than command, as two performers generate a live feedback loop between tower and field. Extending an ongoing exploration on how social, political, and infrastructural rules shape and are negotiated through everyday actions, the work operates through participation, collaboration, and improvisation, and research emerges through collective, embodied encounter. From installation, performance, filming, and audience encounter, the work holds authorship as fluid and collectively held. The project was kindly supported by 101 Outdoor Arts and Jerwood Artist Development Grant.

Between Us’ 22nd April - 6th June 2026 Private View: Wednesday 22nd April 6-8pm at @sohorevue 14 Greek Street, London W1D 4DP The @binderofwomen artists have used this project to explore what exists between their practices, discussing ideas, embracing exchange, taking risks and seeking development. The generosity of @revuestudios_soho has provided access to learn new skills, working alongside each other in the print workshop, testing out a range of technical etching and lino print processes. Participating artists: @laurengodfreystudio @precious___opara @irismcc0nnell @oliviaster @alicerbrowne @anya.kashina @andrea.medjesijones @joana.galego @alice__mac @jessicajanecharleston @pepperchilee @piapack #binderofwomen #artcollective #sohorevue #london #print

🛝snapshots from ’fabric sculptural playground’ hosted by @pepperchilee back in february. the participatory interactive workshop was part of the public programme for @nicolaasvictor solo exhibition ‘not scary, but soft’ at A.P.T. gallery workshop curated and hosted in collaboration with @tracollective and @relish_curation 🎡 film develop by @granafilmlab

Some fun moments from the participatory workshop ‘Fabric Sculptural Playground’ I ran earlier this month as part of the public programme for ‘Not Scary, But Soft’ by @nicolaasvictor at A.P.T. Gallery ✨ Created in response with Nicolaas Van de Lande’s exhibition, participants had the freedom to tie, draw, fold, stack, cut and rearrange materials to build a soft installation that shifted through collective decisions and spontaneous gestures. Reflecting in my ongoing exploration of how built systems and social structures shape behaviour, Fabric Sculptural Playground invited participants to reflect on how environments emerge through shared action. What changes when we move from observing to making? How does collaboration reshape our sense of space and possibility? Thank you so much for having me on this programme @rosibaldassin @tracollective and @relish_curation 🌸✨

Big Dipper (2025) 12.5 x 9.5 x 2 cm (each) A collection of seven houses I have inhabited over the past years, forming a moving constellation of lived experience, where each place balances and orients the others. 💫🧭📍 This work was featured in “my room is a dark thing with walls vaguely white” earlier tbis September at @wild_trumpets , curated by @rosibaldassin and @lcallel , along with beautiful works by @saymeaningg @arthax @giacomolayet @orsolazane ❤️‍🔥 The exhibition invited the audience to interrogate their psychological and physical dimensions, reflecting on how different places and non-places shape how we feel and behave: nostalgic, sheltered, guilty, curious, threatened, homesick, playful, disoriented.🏠🛖⛺️🏡 Grateful to be part of this show, and huge thanks to everyone involved in making it happen xx

This experimental video work gathers a collection of work-in-progress clips from Everything Should Remain Possible, an ongoing exploration of how our living spaces can be reimagined through interaction, awareness, and play🌀 Hanging fabric structures, connected by a pulley system, respond to movement in real time: shapes rise and fall, patterns shift, and the composition is continually rewritten. A gentle reminder that we create the spaces we inhabit, and our understanding of the body shapes the world around us. Developed closely with performer @gladyswen , whose brilliant improvisation brings the work into sense💃🏻with @nserratsm transforming my chaotic iphone footage into a visual poem/publication🔵 and @_charlotteupton magically put bike chain, biscuits, scribbles into a sensory score ⛓️‍💥🍪➿ The work was shown at My Room Is a Dark Thing With Walls Vaguely White at Wild Trumpet earlier in September, curated by the best @rosibaldassin and @lcallel 💘 Funny to think this work first took shape during lockdown in Taichung, Taiwan back in 2020, and has continued to grow with the support of a Jerwood Artist Development Grant and 101 Outdoor Arts. Forever grateful and looking forward to taking it further 🍎✨

This summer we hosted a bench party✨ Now that August is almost over, the bench will soon move to its new location at the sponsor’s office. There is still one week left to visit and see it in Fitzrovia! #fitzroviapartnership #LFA2025 #barethings

The tiles on the footings were created through two community workshops with @fitzroviacommunitycentre , using the same quote as a shared theme. Each tile carries a trace of collective hands and conversations, layered responses to belonging, care, and the acts of place-making. #LFA2025 #fitzroviapartnership #barethings

The process of making the Bare Things bench was hands-on and material-led. The bench was designed for easy assembly using three prefabricated components: the footings, the seat, and the backrests. The footings are clad in concrete tiles, each cast with different patterns and shapes. The seat is made from a concrete cast filled with marble offcuts, along with bespoke marble forks and knives. The backrests — shaped like a seabird and a cup — use textured cement with subtle colour highlights throughout. 🌞 by Pei-Chi Lee @pepperchilee & Asia Zwierzchowska @asia.zwierz for LFA “Fitz and Sits” @londonfestivalofarchitecture

📸 by @luke.odonovan “Bare Things” is a seat installation by Pei-Chi Lee @pepperchilee & Asia Zwierzchowska @asia.zwierz , inviting passersby to reflect, play, and pause in Fitzrovia, central London 🛋️🕊️☕️ Inspired by Virginia Woolf’s The Waves, it’s made from off-cut marble, cement, and concrete tiles created during two community workshops at the Fitzrovia Community Centre @fitzroviacommunitycentre 🧱✨ “Bare Things” is one of nine benches across Fitzrovia and it’s opened to public for three months till end of August 2025. “Fitz and Sits” is a LFA @londonfestivalofarchitecture programme and is organised by Fitzrovia Partnership @fitzroviapartnership and kindly sponsored by Seddons GSC 🌞

Last year this time @bellagallianohale came to the studio and took some nice photos of me and my friends 🔹〽️➰🔺

Film stills from ‘A Seat On Circular Road’ 🎥 The film will be displayed at the end-of-season Open Studio at Delfina Foundation this Wednesday: ´Spirits Searching for Forms to Settle In’ 🗓️ Wednesday, 27 November 2024
🕑 18:00 - 20:30
🔗 Book a ticket via the link in bio. ‘A Seat On Circular Road’ explores the repair of a broken chair to reflect on manual labour in Pakistan, where traditional methods and manual skills remain integral to daily life and industry. The film examines the informal, often inconsistent systems of measurement in these contexts, where a worker’s hand span or the length from nose to arm can define a unit, resulting in inevitable variations. As artists from London on a funded research trip to Lahore, we acknowledge that our weaving process exists in a different context, with different stakes, compared to those in Lahore who weave for their livelihood and are often vulnerable to exploitation. The film was made at the Barkat Ali Islamia Hall in Lahore’s Old City, a site rich in cultural and historical significance. This project was produced during the Divvy Delfina Residency and supported by Foundation Art Divvy (@artdivvy ), Delfina Foundation (@delfinafdn ), and the British Council (@britishcouncilpakistan ) ✏️Credits 
A Film By Anna Russell (@annafrussell ) and Pei-Chi Lee (@pepperchilee ) 
Camera Assistant: M. Imran (Mani Bhatti)
Boota: Muhammad Boota
Translator: Afeera Tariq (Narmeen) (@afeera_tariq )