1978年出生于杭州，艺术理论与实践博士。从2021年开始作为独立艺术家和设计师工作生活于加拿大蒙特利尔。

工作经历

2020-2021 加拿大康考迪亚大学MILIEUX艺术研究所纺织与材料学会访问学者。

2004-2021 中国美术学院染服系专业教师

2003 法国巴黎SACHA PACHA流行趋势设计工作室实习

2003 德国ORWELL时装品牌针织设计部实习

参展及获奖

2018.04 Plug & Play 4，广州当代美术馆

2018.01 BLOOM, 丝绸故事——国际艺术时装展，北京

2016.11 Plug & Play 3，第四届首尔艺术时装双年展，弘益艺术中心

2016.01 Plug & Play 2，第二届中国设计大展，深圳关山月美术馆

2015.09 随插即用，第五届中国成都国际非物质文化遗产博览会

2015.06 Plug & Play，米兰世博会设计东方展

2015.04 随插即用，“图案真奇妙”——青少年艺术项目，上海当代艺术馆

2014.11 zero，“神奇的空间”2014首尔艺术时装双年展，汉佳澜设计博物馆 

2014.09 無，第十二届全国美展获奖提名，中国美术馆

2014.07 無，浙江省第十三届美展铜奖，浙江美术馆

2013.09 “connect”入选日日夜夜——2013北京国际时装艺术展

2012.10 作品获2012年中国国际创意设计展“天鹤奖”中国国际青年设计师大赛院长提名奖

2011.06 “Memory” ，2011荷兰海牙国际艺术服装展

2010.11 “a piece of peace”入选2010韩国首尔国际艺术服装双年展

2010.03 “再生的美丽”作品入选2010绿色态度－后尚北京时装艺术展

2009.11 “奥运的记忆”作品入选第十二届浙江省美展，铜奖

2009.10 “奥运的记忆”作品入选第十一届全国美展，获奖提名

2009.09 “Connect”作品入选德国“Moving China-Germany”邀请展

BORN IN 1978 IN HANGZHOU, CHINA.，PH.D IN ART THEORY AND PRACTICE,  ARTIST, DESIGNER. NOW BASE IN MONTREA, CANADA.. 

PROFESSIONAL EXPERIENCES

2020-2021 VISITING SCHOLAR AT TEXTILE & MATERIALITY RESEARCH CLUSTER OF MILIEUX INSTITUTE OF ARTS, CULTURE AND TECHNOLOGY AT CONCORDIA UNIVERSITY, CANADA 

2015-2021 ASSOCIATE PROFESSOR, CHINA ACADEMY OF ART, CHINA

2008-2014 SENIOR LECTURER, CHINA ACADEMY OF ART, CHINA

2004-2007 ASSISTANT PROFESSOR, CHINA ACADEMY OF ART, CHINA

2003 INTERNSHIP AT SACHA PACHA FASHION TREND STUDIO IN PARIS, FRANCE 

2003 INTERNSHIP AT ORWELL GMBH IN KNITWEAR DESIGN DEPARTMENT, GERMANY

SELECTED GROUP EXHIBITIONS

2018  PLUG & PLAY 4, THE MUSEUM OF CONTEMPORARY ART GUANGZHOU, CHINA

BLOOM, SILKSTORY—INTERNATIONAL FASHION ART EXHIBITION, BEIJING, CHINA 

2016  PLUG & PLAY 3, 4TH FASHION ART BIENNALE IN SEOUL，HONGIK ART CENTER, KOREA  

PLUG & PLAY 2, 2ND CHINA DESIGN EXHIBITION, GUAN SHANYUE ART MUSEUM, SHENZHEN, CHINA  

2015 PLUG & PLAY, 5TH INTERNATIONAL FESTIVAL OF THE INTANGIBLE CULTURAL HERITAGE, CHENGDU, PLUG & PLAY, CHINA DESIGN EAST EXHIBITION, MILANO, ITALY

“PATTERNS, SO MUCH FUN!”, MOCA SHANGHAI-YOUTH ART PROJECT, MUSEUM OF CONTEMPORARY ART, SHANGHAI, CHINA 

2014 ZERO, 2014 INTERNATIONAL FASHION ART BIENNALE, "THE MAGIC OF SPACE" HANGARAM DESIGN MUSEUM, SEOUL, KOREA 

ZERO, 12TH NATIONAL ART EXHIBITION, CHINA ART MUSEUM, BEIJING, CHINA 

ZERO, 13TH ZHEJIANG ART EXHIBITION, ZHEJIANG ART MUSUEM, HANGZHOU, CHINA  

2013 CONNECT, “DAY AND NIGHT”-2013 INTERNATIONAL FASHION ART EXHIBITION, TODAY ART MUSEUM, BEIJING, CHINA 

2012 MEMORY, 2012 DESIGNNOVA AWARD FOR PRESIDENTS’ NOMINATION, BEIJING, CHINA 

2011 MEMORY, 2011 INTERNATIONAL FASHION ART EXHIBITION IN HAGUE, NETHERLAND 

2010 A PIECE OF PEACE, 2010 INTERNATIONAL FASHION ART BIENNALE IN SEOUL, KOREA THE BEAUTY OF REUSE, GREEN ATTITUDE-FASHION ART EXHIBITION, BEIJING, CHINA  

2009

TUBE³, 12TH ZHEJIANG ART EXHIBITION, HANGZHOU, CHINA 

TUBE³, 11TH NATIONAL ART EXHIBITION, CHINA ART MUSEUM

CONNECT, MOVING CHINA-GERMANY EXHIBITION, HANNOVER  

作品名称：Plug & Play - square

作品材质：手工羊毛毡 handmade wool felt

  即插即用系列作品的理念源自中国传统木工艺的榫卯结构。榫卯为榫头和卯眼的简称，是接合两个或多个构件的方法，其中构件中的凸出部分称为榫，凹入部分称为卯，主要被用于家具和建筑领域。榫卯结构是一种“关系”的艺术，本作品将该理念引入到服装设计中，通过标准化的榫与卯的结构设计，寻找新的服装构成关系。这种榫卯结构的服装，是服装设计者与穿着者、穿着者与穿着者之间，通过共享关系所带来的可循环利用与减少浪费的产品。在榫与卯的抽离与再嵌入过程中，服装的构成可呈现更多可能，它意味着不断变化的色彩、廓形、材质，是服装可持续设计的思考与探索。

The Plug & Play collection is inspired by the traditional Chinese wooden craftsmanship of "mortise-and-tenon" joint. The mortise-and-tenon joint has been used by Chinese craftsmen to connect pieces of wooden materials. Although there are many joint types, the basic mortise-and-tenon structure comprises two fundamental components: a "mortise hole" and a "tenon tongue" to fit each other. In every normal case, the tenon either on the end or edge of a piece of wood is plugged to a square or rectangular hole of mortise. The tenon need to be fit the mortise precisely and usually has shoulders that help to fasten, when it fully enters the mortise hole. The mortise-and tenon joint structure is an art of "relationship" that I try to introduce to my fashion concept, in order to build up new relationship     amongst all the relative parties in the fashion space. 

My application of mortise-and-tenon structure in fashion design aims at bringing the designers, suppliers and wearers into a closer, more interactive and interchangeable personal connection, which comes into shape along with the efforts of recycling and waste control not only in production but also in everyday use. 

Bearing the nature of China's "mortise" and "tenon" structure, the disengaging and re-embedding process provides more possibilities of color, form and material in the presentation of clothes without waste; and, with no hesitation, I believe it is an innovative direction to observe and explore the future of sustainable fashion design.