Yu-Ching Wang
“The act of covering my head with a colorful plastic bag might seem absurd at first glance. However, this seemingly ridiculous gesture becomes a multifaceted symbol.”
Could you tell us a bit about yourself and your background?
I am a Taiwan-born artist working across multiple disciplines, exploring themes of identity, migration, and urban dynamics through performance, installation, and video. My artistic journey began with formal training at Taipei National University of the Arts, followed by an MFA in Plastic Arts from Tainan National University of the Arts. Seeking to further expand my perspective, I moved to New York, where I completed an MFA at Pratt Institute in 2022.
While my academic background provided a strong foundation, my practice is deeply rooted in lived experiences and the ever-changing environments I engage with. The dynamic cultural landscape of New York has become integral to my work, offering a space where different identities, histories, and social narratives continuously intersect. By working directly within urban spaces, I aim to explore the fluidity of belonging and the unpredictability of human interactions, inviting audiences to engage with these narratives in an immediate and participatory way.
Your performances often place you directly in urban spaces, engaging with the movement of people and the unpredictability of public life. What draws you to this method of working, and how do you navigate the element of chance in your interactions?
Working directly in urban spaces has always felt like a natural extension of my creative practice. To me, New York City embodies a spirit of unbridled freedom and cultural richness. Its streets pulse with the energy of diverse voices and constant change, making the city a fertile ground for unexpected moments. This dynamic environment fuels my desire to engage with the urban landscape, inviting my art to flourish in public spaces where every moment holds the promise of something extraordinary.
When it comes to navigating the element of chance, I embrace unpredictability as an essential component of my work. In pieces such as Neighbors, I welcome unplanned encounters with an open heart and a curious mind. I believe some of the most compelling artistic moments arise from these unexpected interactions—each one a unique record of the spontaneous dialogue between me, the audience, and other living beings in the urban environment. Rather than trying to control every variable, I allow these chance moments to guide my process, trusting that their inherent unpredictability will add depth and authenticity to my work.
Neighbors, 2020
Breathing in New York, September 2022
Breathing in New York, September 2022 #1 Photo by Winnie Su
In Pigeonese, you use pigeons as a metaphor for adaptation and migration, reflecting on identity and displacement. What led you to make this connection, and how do you see language shaping the experience of belonging?
Pigeonese emerged from a simple yet provocative observation: someone once mentioned that New York City's pigeons are from Europe. Learning that many of these birds have native ranges spanning Southern Europe, Northern Africa, the Middle East, and Western Asia—and considering their historical importation in the 1600s—I began to see them as immigrants. Much like individuals navigating life in a new environment, these pigeons embody adaptation and migration. Their journey resonated with my own experiences of trying to adjust to a new city.
Language, for me, is intrinsically linked to the experience of belonging. It isn’t just a tool for communication; it carries culture, history, and identity. When I hear or speak a language I recognize, there’s an immediate sense of connection—a subtle reminder that we share a common human experience. At the same time, accents and linguistic nuances highlight our differences, marking both unity and individuality. In Pigeonese, I engage in conversations with pigeons using European languages, inviting viewers to reflect on how language can both bridge and distinguish our identities.
Breathing in New York brings together multiple social, political, and personal narratives in a single act of intervention. How do humor and irony function in your work, and what role do you see them playing in the way audiences interpret your performances?
In Breathing in New York, humor and irony aren’t just stylistic choices—they’re deliberate tools I use to engage with complex social, political, and personal narratives. For example, the act of covering my head with a colorful plastic bag might seem absurd at first glance. However, this seemingly ridiculous gesture becomes a multifaceted symbol: it’s a way to reclaim my identity amid experiences of racial stereotyping, while simultaneously commenting on broader cultural and political dynamics. The humor embedded in the action disarms the audience, inviting them to look beyond its surface absurdity and reflect on the deeper, often contradictory layers of contemporary existence.
By wrapping heavy themes in a playful action, I create a space where audiences can engage with challenging topics—like discrimination, cultural ambiguity, and the unexpected shifts in everyday life—without feeling overwhelmed. This playful contradiction encourages viewers to question their assumptions, ultimately prompting a more nuanced exploration of what it means to belong. In this way, humor and irony function as both a bridge and a magnifying glass: they make complex issues accessible while drawing attention to the underlying tensions that define our shared human experiences.
If I could stand in the sky… 2023
If I could stand in the sky…, 2023 Photo by Winnie Su
If I could stand in the sky…, 2023 Photo by Winnie Su
Tell us a bit about how you spend your day / studio routine? What is your studio like?
My creative process is fluid and deeply intertwined with observation and movement. I spend a significant amount of time researching, reading, and walking through urban spaces, absorbing the rhythms and subtle interactions of daily life. This practice of quiet observation allows me to engage with the environment intuitively before translating my experiences into art.
Currently, I don’t work from a fixed studio space. Instead, I embrace a nomadic approach, actively participating in artist residencies and working across different cities. This mobility aligns with the themes of my practice, allowing my work to evolve organically in response to new cultural landscapes and shifting social dynamics. Each place I inhabit becomes a temporary studio, shaping my artistic inquiries in ways that are both immediate and site-specific.
What artwork have you seen recently that has resonated with you?
Rather than a single artwork, a recent collaborative experience with a fellow artist has resonated deeply with me. While on a break recently, I visited a longtime friend—a college acquaintance with whom I've shared many creative journeys—to help install her artwork in a gallery space. Her work required a significant amount of physical labor during its assembly, and as I assisted, I found myself recalling my own college days when I too would pour my energy into the physical process of creation. Although the work was demanding, it left me feeling energized and reminded me of the raw passion I once had for art-making.
This experience not only reconnected me with my artistic roots but also reignited the thrill of encountering art in its most spontaneous form. It was a powerful reminder that sometimes the act of creation—filled with unexpected challenges and joyful discoveries—can be as inspiring as a finished piece. This renewed sense of enthusiasm has motivated me to explore new projects with fresh energy, capturing that spark of accidental wonder that first drew me to art.
Is there anything new and exciting in the pipeline you would like to tell us about?
I’m excited about several upcoming exhibitions in 2025. My solo exhibition at Gallery 456 in New York City will present If I Could Stand in the Sky... in a full spatial installation format for the first time, offering an immersive experience of the project. Additionally, my video works Pigeonese and Neighbors will be exhibited at the Korean Cultural Center in Washington, DC, this summer, and selected photographs from Breathing in New York will be featured in the group show Rest before Installation at Yao Alternative Space in Taiwan. These exhibitions mark important moments in my practice, allowing me to further develop site-specific engagements with space and audience interaction. I look forward to sharing these works and the evolving dialogues they inspire.
All images courtesy of the artist
Interview publish date: 10/03/2025
Interview by Richard Starbuck
