Born in a coastal township in western Guangdong.

Zhu Xiang probes into granular details emerging from zones of political trauma, erasure, and silence within her family history. She extends her focus to those who have endured the "second death" between sea and continent, exploring landscapes where dialogue persists among coastlines, islands, oases, and deserts. Her efforts aim to respond to the complex power structures and concealed affective states behind history, as well as  the loss of women’s narrative.

Zhu Xiang pursues her projects solitarily, rather than labeling her endeavors as "research," she tends to promote acts of self-directed education, manifested through writing, video, installations, and other translational artwork. Within reason, she focuses intensely on profound reflection following the transmission of memories,  seeking ways to rebuild shared psychological realms that are more loosely structured and mutually supportive.

Material：Beef bone glue, Quartz sand, Synthetic resin, Barnacles, Oyster shell

Variable size

The artwork traces back to 1935, Tan Kam Kiu, a woman who was adjudicated for piracy in the South China Sea. In the local and foreign media world, she exists merely as a curious anecdote known as the "Pirate Queen." The sandstone sculptures are like "salvaging" slices of bodies sunk at the bottom of the sea. The ideas of parasitism and mutation attached to the bodies come from the large area of bleached coral on the beach of Daya Bay, as well as the hollow oysters, conches and shells. Parts of these marine invertebrates, viewed by humans as “gifts”, are actually collected from environments severely impacted by excessive coastal development, and mixed with construction waste, plastics, and glass—highlighting the ecological collapse we are all facing together.