Fou Team and Udon



Design and Social Media |

Jing Lin (born 1993, Yongkang, Zhejiang, China) is a contemporary multi-media artist who currently lives in New York. Jing started her art practice when she was only seven years old. Jing studied Inter-media Arts in China Academy of Art in China (2011-2015) and explored different media, including video, photography, installation, performance, painting and interactive art. Jing then pursed art at School of Visual Arts in New York (2015-2018). Her practice explores universal questions at the intersection of human, machine, reality, and technology, life, and death. Her works often juxtapose Eastern philosophy with Western culture; pop culture with traditional Chinese identity.

Jing’s works have been exhibited at various shows, including “Emerging Curators Project 2018” at Power Station of Art in Shanghai ; “New Wight International Biennial ‘We, Activeast’” at UCLA New Wight Gallery in Los Angeles; “Modern Expressions of Traditions” at Metropolitan Pavilion in New York; “Progress Everyday” Masters-Nominated Exhibition at Zhuzhong Art Museum in Beijing; and “Fresh Vision Arts Festival” at OCT Art & Design Gallery in Shenzhen; etc. Her works are also collected by China Academy of Art.

Artist’s website:


PR & Communication |

Expecting to graduate from the Visual & Critical Studies Program at School of Visual Arts, New York(B.F.A) in 2019, Fang is a visual artist lives and works in New York. Her work has been exhibited in China and the United States. Her recent shows include Make It Look Like An Accident, New York (2019);TWO EASTS: Chinese Photographers in America, New York (2016); Dream Exhibit, Kunming (2016); Yuan Fang: The Weaver Girl and The Cowherd, New York (2015). Artificial Boundary (2018) is her first exhibition at Fou Gallery. Born and raised in Shenzhen, a modern city in China with almost no historical heritage, Fang spend most of her adult life in New York, a diverse international city; this split background generates her lack of belonging in both the Eastern and Western society, although she still hold an intimate and lively connection with Chinese culture through language and history. Through the process of gathering fragmented elements of Taoism, Buddhism, Chinese ancient idioms, and fairy tales she recall from her childhood, and recasting them under the influence of Western modernism, she is commuting a mixture of nostalgia and self­distancing raised from cultural displacement and hyphenated identity. While focusing on painting, her work also extends to digital imaging, GIF, drawing, and photography.

Artist’s website:


Design and Newsletter |

I believe that there is never a problem with the existence of any value within a culture system. But if one becomes to a standard of the majority, we should start to think and question. Everything I made was originated from my background as an ordinary Chinese woman who born in 1989, when China started its dramatic development of economy and technology.  Each process of making works is about questioning all my ordinary values and believes.

What our culture expects of us? What does it mean an Asian woman? As the dramatic developments,the proliferation of information has reached an unprecedented level. Young women's assessment and choice of value become more like chasing after the internet. So that a single value and aesthetic could turn into a crazy brainwashed-like trend.

 How much freedom we really have in defining our values, and what our time and society promises, and how much we think we  have。 If these are the values we really need; and how do they define what actually need? We either chose to follow trends, or to judge those who are following them. Do we choose what we accept as the right value? Or is there any right value ever existed.