Dream. 2016

The desire for food and sex is part of human nature-I express various emotions in a singles piece. I believe no matter where we are from, from whichever background; hiding behind us is a common ‘thing’, this ‘thing’ not only exists between people but also between people and animals, people and nature.
I filmed my own puppy and myself. I named my dog “little cat.” When I found her beside the road in Beijing, she still hadn’t opened her eyes and had been abandoned. Maybe out of compassion, pity, or curiosity and love, but without any preparation, I started to take care of the dog. I brought her with me to the US, and during the past four years, no matter what changes came to my life, the only thing that didn’t change is her. She witnessed all of my experiences over the past few years. She is very important to me. I wanted to take this opportunity to show the real story and my true feelings. In addition, the old building is a real place, but in some way or somehow, it felt to me unreal, fantastical, illusory. There you are faced with both fantasy and reality and struggle to differentiate between what is real and what isn’t. I am curious to see the interplay between the ‘real’ and the ‘fictional’ through shifting perspectives. I wanted to displace and discombobulate the viewer, to place them in my head and give them a first-hand experience of this process.


Making boring. 2017

Using a combination of sculpture and drawing, I create an immersive dreamlike environment. I describes my process as “exploring the notion of how stereotypes within a system can be redefined through the application of actions, performance, and imaginative play.” Working in a slow, methodical, and repetitive process.
Building from a drawing element in the back corner of the gallery, I use popsicle sticks, varied sizes of cut wood, and dripping red hot glue to construct the installation. By the time of the opening, I have spent nearly two weeks living and working in the gallery, responding to the physical and emotional characteristics of the space to build a complete and unifying structure. Acting as a diorama into my world, make boring resembles a net holding the gallery together, inviting the viewer into everything the informs that artist’s life, identity, and sense of place.


Safety Zone. 2014

Medium: Intervention
Safety Zone- is a metaphor for the way in which I engage with society. I chose to put myself in a plastic ball at locations where I pass through daily. Being in the ball is physically suffocating and reflects the suffocation of having to live in a dichotomy. The thinness of the ball suggests the temporariness of this protection. The Safety Zone is a form of isolation and barrier to the outside world where I engage with society through keeping a distance

Note: The text above was written by the Artist. No modification was made by C.O.C.A.

Jing Xu


Jing Xu was born and raised in Inner Mongolia, China. She currently resides in Brooklyn, NY. Jing works in sculpture, installation, video and performance. She received her a dual degree from Xiamen University, China and MFA from University of Washington, Seattle. She has participated in several art residencies including Skowhegan School of Painting and Sculpture; The Kimmel Harding Nelson Center for the Arts and Vermont Studio Center. Her work has been exhibited at the ROY G BIV Gallery in Columbus, OH; the Asian Art Museum, Seattle, WA; and others. She has been awarded various grants and fellowships including BRIC Media Arts Fellowships. Her recent awards include an Artist Fellow from Hamiltonian Gallery in DC. Her work has been reviewed in The Seattle times and Hyperallergic.

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