Skip to main content
Textiles (MA)

Mingyi He

Mingyi He is a Chinese artist based in London. She is studying for a postgraduate master’s degree in Textiles at the Royal College of Art.

Mingyi He is a textile and visual artist specializing in textile print and visual artistry. By harnessing the power of new media technology, she reimagines personal photography, paintings, textual elements and more. Drawing inspiration from both Eastern culture and Western influences, Mingyi He's interdisciplinary practice seamlessly integrates various approaches to convey conceptual depth. Her artistic expressions find compelling forms in mediums such as textiles, print media and imagery.

Upcoming exhibitions:

RCA2023 Graduate Show, The Truman Brewery, London (13–16 July 2023).

Sacrifice, ritual and the destruction of perfectionism.

This project delves into the profound influence of gender expectations on our perception of reality. Its primary objective is to challenge and transcend traditional gender boundaries, promoting fluidity and advocating for freedom. By deconstructing the rigid gender binary and empowering individuals to break free from societal constraints, the project explores the ongoing struggle between personal autonomy and societal norms. It showcases the intricate interplay between artistic expression and self-expression.

Set against a socialist collectivist society, where collective values overshadow individuality, the project critically examines the symbolic portrayal of the left hand as an error or secondary, shedding light on the notion of women as the second sex. It addresses the gender disparities in domestic labour, shedding light on the intricate connection between housework, femininity and family life.

The dining table assumes a profound symbolic role, representing the intricate interplay between micro and macro social structures. It is a reflective canvas for contemplation on femininity and domestic space, encouraging critical reflection. Traditional family banquets are perceived as manifestations of patriarchal systems, while the arrangement of the dining table and the utilization of photography document my purposeful actions. Photography is pivotal in harmonizing expressive statements and immortalizing my performative endeavours. Through this exploration, the project revitalizes the dynamic relationship between time and space, bestowing a renewed and thought-provoking outlook on everyday life.

The destruction of RED.
My wrong and right hand

The Destruction of Red

I want to destroy red.

To achieve this, what should I do?

First, I tear apart a piece of red fabric.

Crush a block of red paint.

Burn it, the redwood.

Yet it remains there.

I go further, smashing any red object seen by any eye, destroying it within all borders.

Still, it persists.

Finally, I close my eyes, no longer gaze, but it

Still remains there—red.

'Red things can be destroyed, but red itself cannot be destroyed.' Wittgenstein this sentence feels like a spell.


Fish, chopsticks and pearls
Pig's ear, seating chart, candles, ceremony.
Stewed Pork Heart with Gold
Chicken feet, confinement. Masses and individuals.


On the other side, it represents a mirrored reflection projected within the observer's consciousness.

Table one and two
Table one to four

The Previous Table

I employ print to examine relevant contemporary matters concerning domesticity, gender and society. Additionally, I challenge the preconceived notions surrounding printing as a craft. I intend to disrupt the medium's perception as passive and inconsequential.

In my artwork, I often incorporate metaphors and employ sarcasm. The finished pieces emerge organically through the creative process rather than being meticulously planned and executed. They inquire themes of despair, grief, resilience and resistance. There exists a dialectical relationship between representation and self-representation.


Satin, digital print.


100 x 150 cm