WangShui

So great to see this work anew in such a synergetic space. So many great memories of the friends and collaborators that made this project so special. Thank you to all those who supported this ambitious project over the years and to the amazing team at @copenhagen_contemporary @marie_laurberg @linewium @rrrrrwegner for this incredible restaging !! — WangShui is part of the exhibition “Soft Robots: The Art of Digital Breathing”, now open at Copenhagen Contemporary. The artist presents “Certainty of the Flesh” (2023), an impressive installation that unfolds as an artificial drama-a virtual reality show governed in real time by machine learning programs. Through this work, WangShui explores how the boundaries between our physical and our virtual selves are becoming increasingly blurred; and reflects on how technology functions not only as a tool, but also as an extension - or even a formation- of identity. “Soft Robots” presents works by 15 artists and artist duos. From different artistic perspectives, they look at life in the new technological ecology, questioning the future we are shaping for ourselves. 📍 Copenhagen Contemporary, until December 31 — Certainty of the Flesh, 2023. Live multichannel simulation. Producer & Technical Director @broots Movement Director & Performer @ascended_girlfriend 3D Modeling & Motion Capture @tinnnnnnnnnrr 3D Designer @rvdimir 3D Designer & Animator @nanachenn Motion Capture Technician @ami.j.m Motion Capture Retargeting & Cleanup @_lovelaja Look Developer @richardlap GAN Development @moisesdsanabria @fabiolalariosm Music @ladydangfua (VirtualTransMyst) Sound Design @peripateticpatrick Reality TV Editing Consultant @b_flo___ Starring: @martine.tv @maryhoseini @onenewportshortandaheadache @croixsinclair @hi_its_bobbi @ascended_girlfriend Original and additional support by @sarahjohanna.t @andrea.lissoni @haus_der_kunst @xzhunowell @guggenheim @leapartfoundation @nyscouncilonthearts

It’s impossible to express how grateful and proud I am of this project. I spent the entire winter on a mechanical lift transcribing my feelings about love and violence directly onto these aluminum arches. It was a process of desaturating, defocalizing, and sensating patterns of breath. The final installation is in many ways my vision of a quantum love that is accessed by surrendering on an atomic granular level. A reminder that what you are searching for is already inside of you and that we must always trust this vibration of love to prevail and reverberate. So many stars aligned for this one and unlocked new levels of intention and support I did not know existed. Thank you @adrianopedrosa for your bold vision, trust, and deep care. It was a gift to witness your process and learn to see across dimensions through your eyes. Thank you to @amanda.carneiroo @juliana.ziebell @aifos_gotti and the whole @labiennale team for facilitating each idea and detail with such efficiency and grace. To my team of geniuses: Thank you for all your generous work - it was an honor to interpolate and co-create with you ✨✨✨✨✨ Producer & Technical Director @broots Generative Systems Lead @unitedfutures Sound Design @deliabeat Vocals & Instruments @wenchilittleowl Studio Lead @oliviamcleo Everything Manager @sltdcrml Special thanks to the generous support of @theisland_io and @kurimanzutto for making this project possible. 📸 Nick Ash — Lipid Muse, 2024 Multichannel simulation, woven LED screens, sensors, sound Cathexis I, 2024 Hand-etched aluminum Cathexis II, 2024 Hand-etched aluminum Cathexis III, 2024 Hand-etched aluminum

So special to close the year with this show !! Deeply honored to be invited by @ohashuhlee to create a new work for “Going Dark: The Contemporary Figure at the Edge of Visibility” and show it alongside the great artists I’ve looked up to for so long 🖤 Congrats to everyone involved 💐 Ambiguous Congress, 2023 21 ft x 8 ft Oil and soapstone on aluminum

My Cathexis Series is now on view in ‘New Humans: Memories of the Future’ curated by Massimiliano Gioni @newmuseum . Honored to be in dialogue with such incredible works by Gyula Kosice, Tatsuo Ikeda, and Akira Kanayama. 🛸

A true honor to commission these site specific works by @bayoubega4u for the @pocketbookhudson baths. Stef Shiu is such a fierce meditator and one of the most spiritually rigorous artists I have ever met. Since I first encountered her work years ago we’ve embarked on a sprawling dialogue about energetic battles and the transformational power embedded in minerals. I am so grateful that she agreed to bring her deep knowledge of healing and her pursuit of peace into a space @sltdcrml and I have long envisioned for our community. Thank you Stef for trusting us and for creating something beyond our wildest imagination 🤍 You are a true artist and we are so thrilled for all those who will bathe under your rays. ✨ — NON-DUAL CLOSENESS, 2026. Carnelian, hematite, vintage glass, ice jade, moss agate, copper, auralite 23, prehnite, abalone, garnet, fire agate, snowflake obsidian, larkvite, auralite 23, green aventurine, citrine, peridot, lapis lazuli, hematite, pyrite, black tourmaline, shungite, pearl, iolite, kyanite, fluorite, miyuki glass, moonstone, ametrine, labradorite, blue tiger eye, coral, opalite, selenite, mother of pearl, ruby zoisite, herkimer diamond, chevron amethyst, tibetan snake skin agate, tibetan dzi, angel chalcedony, picasso picture jasper, rainbow tourmaline, smoky quartz, Burmese jade, ice quartz, red rutile quartz, apatite, 274.32 x 30.48 x 100 cm. PSYCHIC SHRIMP, 2026. Clear quartz, chevron amethyst, opalite, pearl, moss agate, purple and blue jade, vintage glass, Miyuki glass, kabamba jasper, auralite 23, abalone, mother of pearl, hematite, chrysoprase, azurite, rose quartz, ice jade, black tourmaline, kyanite, apatite,blue lace agate, moonstone, vintage glass beads, and steel, 274.32 x 30.48 x 30.48 cm. CHANCEL SCREENING, 2026. Clear quartz, pearl, moss agate, purple and blue jade, vintage glass, Miyuki glass, kabamba jasper, auralite 23, rainbow fluorite, vintage copper clovers, moonstone, and steel, 259.08 x 182.88 x 0.127 cm. SKYLADDER WITHIN TREES OF LIFE, 2026. Clear quartz, ice jade, mother of pearl, pyrite, glass, chevron amethyst, blue lace chalcedony, moonstone, botswana agate, rainbow fluorite, blue tiger eye, abalone +

“I am this place, and this place is terrible” (2026) Torched glass in artist’s frame 33 x 38.5 x 9 cm | 13 x 15 3/16 x 3 9/16 in. Currently on view in ‘Night Signal’ @whitecube Bermondsey until March 29th.

‘Night Signal’ is now open @whitecube Bermondsey. Thank you to Irene (and the whole team) for letting in the light. 🤍 — In 'Night Signal', WangShui presents a new body of work, where dreaming forms the conceptual ground from which questions of consciousness, perception and technology emerge. Taking the dream as a generative system - one that reorganises sensation, memory and meaning - the exhibition draws parallels between the structures of dreaming and machine learning, both of which operate through feedback, pattern recognition, and iterative transformation. The exhibition will be on view until 29 March 2026 at White Cube Bermondsey.

My first show in the UK will open early next year @whitecube . Portrait by my dear friend @joseachuar who took this after a week of showing me his world in the Ecuadorian Amazon (I think I had a broken finger and ankles fully swollen from bites). I hope to share some of the things he taught me about the nature of perception in this show. 🤍

Fall 2025 Shinto pilgrimage from Ise to Izumo for 神在祭 - “Festival of the Gods”. A divine conference that thousands travel to witness even though it’s not visible to humans. Arigato Miho~san for ushering me through the many cosmic thresholds we encountered. 結びご縁 - “We were woven together by something older than us.” 🤍 @mihohatori

My grandmother 杜光華 (Kwung Hwat Due) turned 100 years old this past spring. When I visited her, she hadn’t spoken in months, but when no one was looking, she whispered that she loved me. It was such a powerful gift—a reminder of where I came from, of the many dimensions of time, breath, and intention that intersected through her. When I first visited Cy’s home in Bassano with Caio (Cy’s only grandson), it inevitably made me think about ancestry—what we do to honor and protect family, not materially but spiritually. The first work Caio and I agreed upon for the show was this portrait of my grandmother (which had not yet been made). It was the only thing we could be certain about. Months passed as I worked hard on the show, yet the portrait only emerged in the final days before my trip, so I hand-carried it to Italy. It’s often hard to keep track of who we’re doing any of this for—but in this case, it truly was a great honor to introduce Kwung Hwat and Cy, both of whom I owe so much to. 🤍 Calendar of Being, 2025 Oil and ink on hand etched aluminum 24 3/8 x 20 7/8 in (62 x 53 cm) @fondazione.iris @caioatwombly @amanita.ny

‘Desire Script’ is now open until December 7th by appointment @fondazione.iris 🤍 Sincere gratitude to @caioatwombly and the whole @fondazione.iris @amanita.ny team who made this feat possible. What a wild experience it was to be summoned by the spirit of an artist into their home and studio. 🤍 — Desire Script is the third exhibition at the Foundation and the first to open during the autumn season. In 1975, by the influence of Giorgio Franchetti, Cy Twombly acquired the 17th-century palazzo and together with Giorgio remodeled it into a studio. At intervals, Cy would spend the next thirty years visiting Bassano in Teverina, painting and sculpting some of his career’s most significant work. Today, the Foundation seeks to offer artists its space for the deepening of creative and cultural pursuit. Desire Script brings WangShui’s practice of mark-making into dialogue with art histories of erasure and the contemporary language of code. Working primarily on aluminum, the artist displaces metal through hand etching to create “empty marks” — shallow abrasions and gashes that refract light through subtraction rather than addition. These incisions echo lineages from Cy Twombly’s erasures to ancient calligraphic traditions, where meaning emerges as much from absence as from inscription. In WangShui’s work, the sequencing of marks resists resolution; it is often unclear which gestures came first, or even which plane of the surface they occupy, as if instructions were embedded like living code, weaving infinite loops into the surface. This ambiguity unsettles linear perspective, evoking the recursive logics of programming as much as the palimpsest of memory. The mark becomes a kind of script: at once a gesture of longing and a program written in negative space. The title evokes both the protocols of desire and the haptics of technology, suggesting that history, memory, and consciousness converge in a field of light, where emptiness itself becomes radiant.

It is a great honor to have my first solo exhibition in Italy at Fondazione Iris - the former home and studio of one of my favorite rebels of the 20th century. __ It is with great pleasure that we announce Desire Script, an exhibition by WangShui, opening at Fondazione Iris. In 1975, by the influence of Giorgio Franchetti, Cy Twombly acquired the 17th-century palazzo and together with Giorgio remodeled it into a studio. At intervals, Cy would spend the next thirty years visiting Bassano in Teverina, painting and sculpting some of his career’s most significant work. Today, the Foundation seeks to offer artists its space for the deepening of creative and cultural pursuit. Desire Script brings WangShui’s practice of mark-making into dialogue with art histories of erasure and the contemporary language of code. Working primarily on aluminum, the artist displaces metal through hand etching to create “empty marks” — shallow abrasions and gashes that refract light and color through subtraction rather than addition. These incisions echo lineages from Cy Twombly’s erasures to ancient calligraphic traditions, where meaning emerges as much from absence as from inscription.  The exhibition will be open beginning Monday, October 20th by appointment only. @fondazione.iris @amanita.ny @wangshui_ WangShui Encoded, 2025 Hand-etched aluminum 21 × 19 in (53.3 X 48.3 cm) Photo: @hyman.zach