SIHAN LING

  • INFO
  • Sculpture
  • Installation
  • Moving Image
  • Performance
  • 2D Works
  • Waterloo Festival at St Johns Waterloo
  • 2026 exhibition
  • STOREYS
  • 2021 exhibition
  • COUNCIL OF THE NINE workshops
  • 2025
  • COUNCIL OF THE NINE
  • 2025 exhibition
  • “I shouldn’t take up too much space…”
  • 2025
  • “Virtue is currency : )”
  • 2025
  • “Praxis. Order. Valor.”
  • 2025
  • “Strength is survival!”
  • 2025
  • “The show must go on : >”
  • 2025
  • “Trust-but STAY VIGILANT!!!”
  • 2025
  • “24/7 - FUN AND EXCITEMENT! ”
  • 2025
  • “Withhold. Observe. Find Answers.”
  • 2025
  • “Ordinary is not optional…”
  • 2025
  • Traveling Totems
  • 2024
  • Saturday Sorrow II
  • 2023
  • The Cabinets of Enigma
  • 2023
  • Customisation of Standardisation II
  • 2023
  • Paternal Potion II
  • 2023
  • Carbon Copy
  • 2023
  • Canis Major
  • 2023
  • Paternal Potion
  • 2022
  • Quintuple Fingers-crossed
  • 2022
  • Model Village
  • 2022
  • Something old, something new, something borrowed, something blue
  • 2022
  • Street Smile
  • 2022
  • Anywhere II
  • 2022
  • Martial-Kitsch Art V
  • 2022
  • Martial-Kitsch Art I
  • 2020
  • Martial-Kitsch Art III
  • 2021
  • Anywhere
  • 2021
  • Martial-Kitsch Art II
  • 2021
  • Nothing is Not No Thing
  • 2021
  • The Customisation of Standardisation
  • 2021
  • ART BEST / AT REST
  • 2021
  • ART BEST AT REST
  • 2020
  • Your Job
  • 2020
  • A Form of Resistance
  • 2020
  • A GOLDSMEAR MEETS GOLDSMITHS
  • 2020
  • Wild Flower
  • 2020
  • Where Is Mukden
  • 2020
  • cannot gild turd
  • 2020
  • GOLDENFORTUNE.LTD
  • 2020
  • DEVOLVING GOLDSMITHS
  • 2020
  • Who Is Badman
  • 2020
  • Flibuster
  • 2019
  • Unbearable Lightness
  • 2018
  • Closed Governance
  • 2018
  • Civilly Wild
  • 2018
  • Sun excretes sorrows
  • 2019
  • The Selected Cannot See
  • 2019
  • Narcissus the swimmer
  • 2017
  • Encirclement, Extinction, Emergence
  • 2017
  • Attendance
  • 2017

Based in London, my practice explores how meaning, memory, and identity become embedded within objects, interiors, and symbolic arrangements – particularly in spaces shaped by migration and overlapping belief systems. I am interested in how people navigate in times of social and technological change through constructed frameworks such as religion, astrology, geomancy, personality systems, ritual, and algorithmic identity.

Through installation, moving image, text, and performance, I often work with fragmented narratives, mistranslated symbolic systems, and hybrid cultural references. Rather than treating belief systems as fixed truths, I approach them as evolving structures through which people negotiate instability, projection, intimacy, and belonging within contemporary life.

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Sihan Ling CV