-025 Quan Wenfei




If there is one thing that you can change in a previous project of yours, what would it be?







I have a work about the shape of language which I’ve never been fully satisfied with. Specifically, it’s a comic book where I blacked out all the scenes, figures, and words, leaving only the empty speech bubbles. Titling the piece “The Shape of Language,” I want to generate a sense of lightness despite its heavy connotation. I originally made it with markers, and I am not fully happy with the result.

If I were to remake it, I would want to carve it into a stone monument. The dense arrangement of these hollow, discontinuous bubbles might perhaps generate a kind of mute, speechless feeling, reminiscent of a stone, incapable of utterance.


[Original response in Mandarin Chinese]

我有一个有关语言的形状的创作。一直不是很满意 我想要一种举重若轻的感觉。具体是一本漫画书把场景和人物还有字全都涂掉 只留下了了空洞的对话框。我把这个叫语言的形状。我之前尝试在用马克 笔在漫画上涂抹 但是还是不是很满意。如果我重新制作 我想把它刻在石碑上 这种空洞的无持续感的气泡密集排列 没准儿会有一种像石头无言的感觉。










About Quan  Wenfei

Wenfei Quan (b. 1992, China) is an interdisciplinary artist whose practice spans painting, printmaking, video, and installation. Much like a painter confronting surface and image, she describes herself as an “internet archeologist,” dissecting the internet as both archive and artifact. Her work explores the aesthetics of digital memory, simulation, and historical construction, to center the act of unfolding and reconfiguring fragmented archives. Quan constructs layered visual narratives that reflect on the nature of perception and information.

A highly skilled printmaker, she works with oil and silkscreen on canvas (a method popularized by Andy Warhol) to slow down and dissect the accelerated pace of internet culture. Her practice mirrors and challenges the visual habits shaped by corporate media and the velocity of digital consumption. Quan’s concept of “selective looking” is what guides her practice. Her work summons this filtered attention to the surface, much like wrapping text around an image in a document: controlled, deliberate, and embedded.

Quan’s work has been exhibited at Miriam and Ira D. Wallach Art Gallery, New York (2025); THE BLANC, New York (2025); Zepster Gallery, New York (2025); ONE Gallery, Beijing (2025); Shanghai Peninsula Art Museum, Shanghai (2024); Eli Klein Gallery, New York (2024); One Herald Plaza, Miami (2024); HaiPai Art Museum, Shanghai (2022); Song Art Museum, Beijing (2022); TanArt Community, Xi’an, China (2022) ; Hello art, Hangzhou, China (2022); Radius Gallery, Xi’an, China (2022); Yellow Box Art Museum, Qingdao, China (2021); Himalayan Art Museum, Shanghai (2021); Wuhan International Convention and Exhibition Center, Wuhan, China (2021); White Realm Art Space, Shenzhen (2020); China Print Museum, Shenzhen, China (2019), Shaanxi Art Museum, Xi’An, China (2019); Shanghai Exhibition Center, Shanghai (2019); Shenzhen Convention and Exhibition Center, Shenzhen, China (2019); and Xuyuan Gallery, Beijing (2016).

Quan currently lives and works in New York, NY.

All images courtesy of the artist.