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Ruoqi Wu

Ruoqi Wu was born in Beijing, China in 1998. Before came to Royal College of Art, she previously studied at the School of the Art Institute of Chicago, graduating with a Bachelor of Fine Arts degree with a major in printmaking.

Ruoqi works in multiple crafting disciplines, including drawing, printmaking, ceramic, fabric, artist book, and installation. During her studies at the RCA, she worked as the Assistant Manager in the Brunswick Art Gallery. Ruoqi has also participated in several exhibitions, including The Future of Craft at Oxo Tower Wharf, Impressions at Southwark Park Gallery, while some of her works have been included in online publications and showcases.

Show Location: Battersea campus: Dyson & Woo Buildings, First floor and mezzanine

Ruoqi Wu-statement

Ruoqi’s art is concerned with the interaction of the human and natural worlds, using feeling and memory to reimagine natural settings in a representational, metaphorical way to explore the multiplicity of relationships in between. She pays attention to the physical and psychological engagement during the creating process and regards it as a significant part of her artistic practice. The process of making is almost like a performance with no audience.

Ruoqi also recognizes the materiality of objects and craft traditions. The pattern she uses and creates has unique visual qualities: materiality and regularities of forms. The uncertainty in potentiality and the actuality of form within texture is of great interest to her.

Ruoqi’s recent work collectively responds to her experience of moving to a new country at an unusual time, and how her expectations of England were subverted by the environments she encountered and the people she met. Based in central London, Ruoqi uses walking as a mode of art practice and makes sure to incorporate natural elements that she encounters in her walks into the creative process. By doing so, she collaborates with natural processes and works with the specific landscape. When working, the sense of being in place returns to her repeatedly, again and again.

Drifting in the Urban Jungle, 2022, Linoleum Print on Japanese Sekishu Shi Paper
Drifting in the Urban Jungle, 2022, Linoleum Print on Japanese Sekishu Shi Paper
Drifting in the Urban Jungle, 2022, Linoleum Print on Japanese Sekishu Shi Paper
Drifting in the Urban Jungle, 2022, Linoleum Print on Japanese Sekishu Shi Paper
Drifting in the Urban Jungle, 2022, Linoleum Print on Japanese Sekishu Shi Paper
Drifting in the Urban Jungle, 2022, Linoleum Print on Japanese Sekishu Shi Paper

One of the first words I learned in English was ‘jungle’. The word not only means tropical forest but also serves as a metaphor. One of the word combinations that struck me the most is ‘the urban jungle’ - usually, I understand, a negative phrase. But what if the city can literally be represented as a jungle?

Growing up in modern cities, I experienced a typical urban lifestyle and thus found solace in the countryside and forest. When I moved to London, I was surprised by how green it was for a city, as there are enough trees in London that could technically qualify as a forest. I wonder, what will life be like if we live in a city-as-forest, and forest-as-city?


Medium:

Linoleum Print on Japanese Sekishu Shi Paper

Size:

Size Varies
In Memory of Passing Seasons, 2022, Mixed Media
In Memory of Passing Seasons, 2022, Mixed Media
In Memory of Passing Seasons, 2022, Mixed Media
In Memory of Passing Seasons, 2022, Mixed Media
In Memory of Passing Seasons, 2022, Mixed Media
In Memory of Passing Seasons, 2022, Mixed Media

In Memory of Passing Seasons documents my experience walking around London. While walking, I am always fascinated by leaves falling from the tree and have the habit of observing and collecting them. Bring some leaves back home every time I walk outside, I gradually have a small collection on my windowsill. Looking at each leave reminds me of the time and space of encounter, as well as my personal memory and struggle in different phases. Using the technique called Bundle Dyeing, I incorporate them directly into the work, hoping to eliminate the boundary between me and ‘nature’ to let nature work itself, while still expressing a sense of care, hope, and softness, and recording my personal feelings and memories in the city.

Medium:

Mixed Media

Size:

Size Varies
Installation - Experiment , Mixed Media
Installation - Experiment , Mixed Media
Installation - Experiment , Mixed Media
Installation - Experiment , Mixed Media

Medium:

Mixed Media

Size:

Size Varies
Trace, 2021, Cotton Muslin Fabric in Embroidery Hoop
Trace, 2021, Cotton Muslin Fabric in Embroidery Hoop
Trace, 2021, Cotton Muslin Fabric in Embroidery Hoop
Trace, 2021, Cotton Muslin Fabric in Embroidery Hoop
Trace, 2021, Cotton Muslin Fabric in Embroidery Hoop
Trace, 2021, Cotton Muslin Fabric in Embroidery Hoop

My work focuses on exploring the interaction of the human and the natural worlds and speaks to the need for balance. Using carbon paper and hand-printing tools, I traced the patterns directly on the tree bark, while paying attention to its shape, texture, and flow as well as my mind and gesture. Through physical interactions (touching, smelling, listening ...), I got closer and built a relationship between myself and the tree. After tracing, the image was transferred into cotton muslin and then placed in a series of natural environments where the piece was made.

I want my work to be delicate but enduring, just like nature itself. While they are not designed to perfectly blend in, I hope they can show us a better way to treat our world, in which human creation can complement nature, instead of trying to overcome it. I’d like to present a hopeful future, one where humans have learned to respect, thrive, and integrate with our natural environment.

Medium:

Cotton Muslin Fabric in Embroidery Hoop

Size:

Size Varies