Zhengzhou and London, the two cities where I grew up and went to university, have shaped my understanding of architecture and cultural identity. Though geographically and culturally distinct—China in the East, and England in the West—both cities feature striking examples of exoticised architecture.

In this project, I explore these transcultural landscapes through the lens of 'architectural collage.' By documenting the presence of Western replicas in China and Chinese pagodas in England, I reflect on the hybridisation of these spaces. These structures, though rooted in distinct traditions, are reimagined and transplanted across continents, challenging the boundaries of cultural authenticity. Through this visual exploration, I aim to question the significance of these architectural imports, examining how they embody the complex intersections of culture, power, and place.

China House, London 2023

Wing Yip Croydon, London 2023

Victoria Park, London 2023

Wing Yip Croydon, London 2023

the Chinese Garage, London 2023

SIAS University, Zhengzhou 2023

SIAS University, Zhengzhou 2023

SIAS University, Zhengzhou 2023

Jinma Square, Zhengzhou 2023

SIAS University, Zhengzhou 2023

photobook

the Architectural Collages Between East and West

steel wire, riso print photographs
160mm x 225mm


This book explores exoticised and transcultural architectures in China and England through a concept of 'architectural collage.'

To illustrate this hybridisation, I blend my photographs of Western architectural replicas in China with Chinese pagodas in England.

Exhibition & Installation

The English Willow pattern is a chinoiserie plate pattern produced by Thomas Lucas and James Richards at the end of the 19th century. The pattern is characterised by Chinese elements such as a bridge, a garden fence, a pair of birds, and details of pavilions, etc. Willow pattern plates is evidence of the exotification and appropriation of Chines culture, which is from westerner’s imagination.

SIAS University in Zhengzhou, China, features a full-scale replica of Big Ben and a street modeled after Regent Street, exemplifying a reversed form of cultural imitation. Inspired by the Willow pattern, I designed a plate featuring a photograph of the replica Big Ben in China. While the original Willow pattern constructs a stereotyped and romanticized vision of a Chinese garden—designed by the English and produced in England—my Big Ben plate challenges this colonial history. As a Chinese artist, I intentionally designed it to be made in a Chinese ceramic factory, reversing the historical dynamic of cultural representation.

Exhibition view from Maybe Someday, One Day (2024)

Group Exhibition at the Copeland Gallery, London. 25th March, 2024