Skip to main content
Contemporary Art Practice (MA)

Zhaoqi 兆琪 Jiang

Zhaoqi Jiang 兆琪 (b. 1994, Beijing) is a multidisciplinary artist, writer, and researcher based in London.

She has been experimenting with glass, as the main material for the face series sculptures during her MA in Contemporary Art Practice at the Royal College of Art. She has previously studied Visual Arts in Beijing and Fashion Styling at IED Milan (2014-2015). Her editor experiences in the film and publishing industry also deepen her understanding of text and writing.

Selected exhibitions, film screenings, and publications:

2023 Screening of 'Haunting Love' at Tate Modern Lates, London

2023 Glimpse Publication

2023 Beyond Surface, Montez Press Radio, London

2022 Screening of 'Haunting Love' at RCA Battersea, London

2018 Screening of 'Sense of Distance' at Advertising Museum of China, Beijing

artist with her glasswork

“Outside and inside are both intimate; they are always ready to be reversed, to exchange their hostility. If there exists a borderline surface between such an inside and outside, this surface is painful on both sides.”  

Gaston Bachelard

Alienated to a degree by Borderline Personality Disorder, Zhaoqi兆琪 finds herself a rather gloomy soul prone to endless self-questioning, and this lonely journey is reflected in her practice. Intimate autobiographical writings and wordplay, alongside sculptural and video installation-based works, communicate traumatic human experiences to an audience. Her works focus on the double history of face and mask, for her a threshold to the inner self; a fluid frame to observe inside and outside, closed to Gaston Bachelard’s intimate “borderline surface”, she tries to achieve a reconciliation of the dissonant relationship between atypical mental health and the sense of self as a method of art therapy and world-building.

Compared to walking directly to a destination, she enjoys walking through different neighbourhoods to capture fragmented emotions and collect oral histories from the local people and migrants, translating the feelings into writing, film, and sculptural pieces, to reveal the hidden narratives of home and communities. She has always felt that life is in a state of the yellow traffic light, an in-between state, it is not easy to live with the unknown, yet she insists on living in fear to unmask herself; speaking to the younger self to comfort the inner self.

video still
Launch Project
video still
video still
video still
Video still

Stone, Stolen, Stone (2023) - The monologue of the film

We always ask questions

End within a Silence

We look into a mirror

End within a horror




Within the hub of surprises

Unstable fragments giggling

And the tiny, neglected cracks won’t stop


They swim through years

Romping under stars

I even envy their freedom once in a while

Within the intimacy

The chasms never fade away

Like the discarded glasses after a blow-up

Here, the fail turns into a bell

Ringing itself violently

The abandoned continue to reinvent themselves

Within the scars of memories

Moving toward next blast

Separately and secretly


A voice is emerging from deep uncertainty





Cycles of renewal leapt and crackled

Along with regeneration

There is no communal ceremony of mourning

For what we are forgetting

But an inward gaze



glass detail
I always watch the scenery out of the windows alone as if I had returned to my childhood flat on the 23rd floor of Beijing, looking at windows of the opposite in silence alone, day and night, with stories staged. I rethink the ‘frame’ after moving to the flat in Kensington, I still observe the window frames being renovated, square, one by one. It reminds me of the apartment block in La Vie mode d'emploi of Georges Perec. Within an infinite frame, time blurred, hidden narratives of home emerging.
glass frame
coming out from the  kiln
glass detail
artist with glasswork
artist with glasswork
Kiln record
Kiln record
The twins' glass faces born of the same kiln, show me surprises, echoing my writing practice 'Stone, Stolen, Stone' (the monologue of my new moving image work 'Unmask Ourselves, Keep Living in Fear'). There is a sound, a sight communication within the silence, which correctly reflects my mental state of BPD, also the rebirth and rebuilding stage after the suffering.
glass sculptures
The ongoing face series since 2018I once wondered whether, after wearing the glass mask, I could see the space parallel to me from the perspective of the person who had left forever, to get much closer to the 'Empathy'. When I finally finished the glass mask with different depths, I find that both myself and the world are distorted. This absurd fact led me to the next stage of pursuing relative distance within intimacy.
glass face show view
CAP Salon at RCA Battersea (2022)
glass face2
Glass Face (The third edition, 2022)
glass face1
Glass Face (The first edition, 2022)
artist with glasswork
Biomaterial painting
Biomaterial painting
Living with the unknown, compared to traditional painting pigments, I prefer to use temporary biomaterial to create fluid images, exploring the identities, temporality, and borderline surface through this healing practice of magic, also a shadow and light game to me.