INSTAGRAM: WITWIT_WANG
CONTACT:AURORAVT1998@GMAIL.COM


WANTING WANG

Artist Bio
Wanting Wang is a London-based visual artist and photographer whose work examines how ecological, gendered, and perceptual systems shape and distort the ways we see and are seen. Holding a Master’s degree in Television from the University of the Arts London, her cinematic background informs her distinctive visual storytelling.

Her research-driven practice draws on philosophy and cultural theory to explore the shifting boundaries between the organic and the constructed. Working across photography, installation, and the poetics of perception, she focuses on thresholds—between life and decay, clarity and blur, order and collapse. Through visual and spatial experimentation, she investigates how bodies, objects, and environments are shaped by both natural and constructed systems. Often working at the edge of the seen and unseen, she uses light, shadow, and composition to disrupt familiar narratives and transform fleeting moments into compelling visual inquiries.

Wanting’s recent exhibitions include EL ORDEN DEL CAOS Exposición colectiva (Spain, April 2025), PARTLY CLOUDY (London, April 2025), INTERGRADE (London, April 2025), and LIQUID SKY | III Edizione (Italy, May 2025). Her work embraces contradiction—finding beauty in decay, structure in fragments, and resistance in silence—opening poetic spaces to rethink visibility, embodiment, and belonging within ecological and social systems.

Above The Rules 2025


In a world disciplined into “normality,” order is the foundation we rely upon: objects stay in place, actions follow logic, and bodies move along predetermined tracks.

This series presents everyday objects—food, furniture, tools, and body-related items—through a surreal lens, crafting premeditated chaos via conscious arrangements and visual interventions.

What first appears as rational and orderly reveals subtle tensions of displacement, malfunction, absurdity, and estrangement. These images challenge our trust in logic, systems, function, and norms.The structures we depend on are not as stable as they seem—they are always on the verge of collapse, distortion, or deviation.

Disorder, in this context, is not accidental but a silent rebellion from within.This work is a quiet orchestration, a visual resistance—calm, absurd, and deliberate.

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Blossoms of Decay 2025
Blossoms of Decay presents four decaying fruits adorned with vivid flowers, subverting conventional notions of beauty, freshness, and the natural life cycle. In our culture, decay is discarded and overlooked, yet in this work, what is typically neglected is reimagined as something striking and exquisite.

Flowers, traditionally symbols of life and beauty, no longer play the leading role. Instead, they are implanted into the decaying bodies of fruit, disrupting our established perceptions of the relationship between nature and humanity. This human intervention in nature is suspended in time, confronting us with the unsettling reality that we are not the center of nature, but its manipulators. Yet, on a grander scale, are we not also shaped and controlled by nature itself?

What appears to be a harmonious coexistence of bloom and decay is, in truth, a constructed aesthetic—an artificial reconfiguration of natural beauty, an act that is both creative and destructive. The work challenges us to reconsider our interactions with nature: are they born from admiration or domination? In this aesthetic ritual, the boundaries between organic transformation and human interference are blurred, reconfiguring the grammar of natural beauty.

In this framework, the fusion of decay and life is not one of opposition, but a redefinition of the boundaries between nature and the artificial. The work uses decay as a source of creativity and, through human aesthetic manipulation, questions whether such a reconstruction of beauty is sustainable, or an ecological ritual in itself—a moment in time suspended between creation and destruction.

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Amber of the Peripheral 2025


Amber of the Peripheral presents a dialogue between nature and artifice, between the marginalized and the mainstream. These two photographs depict donkeys grazing on the banks of the Nile in Egypt. Their eyes flash with an otherworldly light from the camera’s flash, imbuing the animals with a spectral glow. Whether grazing peacefully or staring directly into the lens, their gazes hold an enigmatic light—both an animal’s silent stare and a human misperception of nature.

Amber of the Peripheral uses the strange gleam caused by the flash to dissolve the boundaries between nature and artifice, the modern and the ancient. Through this lens, we see the "divinity" in the animals’ eyes, re-injected into the natural world through modern technological imagery. This work serves not only as a testament to marginal lives but also as a poetic expression of "ecological ritual"—an amber moment in time, where past and present converge and freeze within the image.

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                                                                                    Fragmented and Unified 2025

An installation of black-and-white photographs housed within a partially open wooden box.

Fragmented and Unified explores the intricate entanglements of humans, animals, and environments in everyday Egypt. Shot in black and white, the series resists isolating its subjects—instead, it reveals how lives commonly pushed to the margins are central to the fabric of shared existence.

The raw wood structure—open on one face—echoes the tension between nature and artifice. The missing side is not absence, but invitation: it allows viewers to peer in, move around, and occupy shifting points of view. The box becomes a device for spatial storytelling—no one image dominates, no one figure remains peripheral.

The work resists hierarchies. By placing a veiled woman, a boy on a horse-cart, farm animals, and shared rural spaces in visual dialogue, the installation unsettles traditional narratives of who or what deserves to be seen. These so-called “Others” are not supplementary—they are structural.

Rather than offering resolution, the installation proposes a movement between fragmentation and unification. Fragments do not dissolve into sameness; they connect in tension, held together by interdependence. As the viewer’s body navigates the structure, so too does their gaze, building meaning through dislocation and adjacency.

In this way, Fragmented and Unified becomes not just an image series, but a spatial argument—against singularity, against fixed centers, and for a more porous, egalitarian way of seeing.


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  The Boundary Between 2022

The work was created in Florida, USA, in 2022. Inspired by the region’s cloudy, hazy weather, the concept explores how, from a distance, figures on the beach dissolve into the mist, rendering the boundaries between sea and shore, land and architecture, almost imperceptible.

This ambiguity gave rise to The Boundary Between—where migratory birds carve arcs into the sky, beachgoers merge with the landscape, and the viewer’s gaze drifts along blurred horizons. In that moment, the iris becomes a new coastline, redefining perception itself. All divisions are choreographies. All margins, ecosystems. All thresholds—living verbs in perpetual conjugation.
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Liquid Confessions I 2025

Liquid Confessions is a photographic series that explores the fluidity of the human body and identity through distorted underwater imagery. Captured from above, the nine photographs depict submerged body parts transformed by the movement of water, turning limbs into shifting abstractions. These images challenge fixed notions of bodily form and propose an alternative way of seeing—one that embraces distortion, multiplicity, and ambiguity. The work reflects on the psychological and societal pressure to conform to bodily ideals, offering instead a space of dissolution and liberation.

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Liquid Confessions II 2025

Liquid Confessions II is an experimental video work that constructs a perceptual tension between seeing and being seen through fragments of forest, swimming pool, and mirrored gaze. The body becomes fractured and distorted in water, endlessly reflected in mirrors, moving through both natural and constructed spaces. Limbs emerging from behind tree trunks and faces floating on the water surface evoke a visual entanglement between concealment and exposure—suggesting how identity is shaped, fragmented, and estranged under the gaze of the Other. The work asks: in the act of being watched, do I still possess myself—or have I already become a projection of that gaze?



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