Skip to main content
Contemporary Art Practice (MA)

Angel Qin

Angel Qin is an algorithmic pattern, which was fabricated 25 years ago

Starting from 2020, she also becomes a random composition of

6 digit numbers 249908

that locates her digital existence at 18A Cable Road, Singapore;

posits her as the color hex (36,153,8) in the RGB spectrum;

and lists her as a Geo Dew piston on Amazon

She is an ecological being with numerous identities

She is a weaver of moving image

She is a lingerie designer for home appliances

She is a quantum existence

She is a plural

Angel in chewing gum

Angel’s practice is looking for the folds in the straight, smooth and flat


I want to offer a joyful offence to the burnout quotidian, through a fetish gaze towards domestic appliances.

Home appliances are like the vegetative nervous system in our domestic living space. They function independently of consciousness and regulate the basic physiological activities of the body's internal organs, such as breathing and heartbeat, to maintain the most basic instincts of life.

For this reason, I always think they trigger the feeling of sexual frigidity. Unlike tables and chairs, they do not directly triggers sensory intimacy. 

They are "white" , keeping the balance of life silently

They are mass-produced and functional 

Their surface are straight, smooth and flat, 

They have no folds.

Washing Machine's sexy lingerie fitting
Washing Machine's sexy lingerie fitting
still shooting
Launch Project
Sexy Lingerie for Washing Machine
Sexy Lingerie for Washing MachineDimension: 800x600x400mm
Sexy Lingerie for Fridge
Sexy Lingerie for FridgeDimension: 900x300x200mm
Sexy Lingerie for Fridge
Launch Project
Sexy Lingerie for FridgeDimension: 1800x600x360mm

Their presence is an underlying tone. 

It is the instinctive breathing and heartbeat of the domestic space.

For me, in domestic appliances there are mental traces of individual inner experience under the influence of instinct. Designing underwear for machines is in itself a vibrant creative impulse. Eroticism is revealed in the folds of lace, liberating these bodies from the smoothness and revealing their inner Libido - a vigorous primal drive for life.


Lace Fabric, Metallic bonings,


80x60x40cm; 180x60x36cm; 90x30x20cm
I+0=IUnder construction version

We think of the self as a site rather than as a person, and thus the process of self exploration becomes a site that has been constantly building up. We explored the process of self-construction with the use of the mathematical equation I+0=I. 

0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I 0I0I0II0I 0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I 00IIII0000 0I0I0I0I0I 0I0I0I0I0I 0I0I0I0I0I

It needs two parts to form a binary;

/ I is the origin

  I is the self

  I is the body

& I is a plural 

Instead of a single number;

0 is the null set ∅

0 = { }

   = “the set of all triangles with four sides, 

    the set of all numbers that are bigger than nine but smaller than eight”

    the set of all items not identical with themselves

0 = { Dream/Ambiguity/moon, river, lemon cookie/quantum force……}

/I and 0 were loaded to the Jacquard loom 

which weaves infinite possibilities;

/I is the uncompleted metallic fishbone skirt, allowing 0 to make construction;

Meshes are being added to I; 


0 is gently gently releasing 1’s binary body

Plus 0, I is turning into a construction site;\





I+0=I, Performance/Moving Image


Performance/Moving Image
Time Swatch · 1
Time Swatch · 2
Time Swatch · 3

Making images movings is like sewing times together

Shooting an image is like manually cutting a fabric from the surface of the world,

Editing is like plucking images that are wound on looms

These processes reveal “threads” under the flat digital surfaces,

Pulling occurrences into sections of threads for further rewoven and reorganization. 

Weaving is a form of deconstruction.

Events and occurrences are disassembled by lines and frames, 

Considering camera position, timeline, editing bars and screen.

These frames are also disassembled by the attention and gazes on themselves.

Putting the focus point on the frames dissolves the original frames,

At the same time, it also generates new borders and edges. 

The emphasis on deconstruction is an emphasis on the form of Becoming. 

It is a contemplation on the form of existence of an image itself.

A moving image is something enclosed.

Inside is a period of time that is dead.

I want to open up its closure by weaving. 


Moving image