Wen was born and raised in Hangzhou, China. He has held solo exhibitions, including The Beach After 25 Mins at the Dean’s Office at SAIC, where he explored material experimentation through silica gel, cyanotype, and textile-based structures, as well as a solo exhibition in SAIC’s Fashion Department. As an artist and fashion designer, Wenyu Zheng’s practice explores the interplay of materials, focusing on their inherent properties, limitations, and emotional qualities. His creative process is driven by continuous exploration, iteration, and refinement, balancing imagination and execution. Currently, he is investigating the intersection of digital fabrication and textile structures, integrating techniques such as laser cutting and 3D modeling to explore the fusion of traditional and contemporary craftsmanship.
《Bottom》, 2025, 3D printed, painted, 90 x 90 x 10 in.
Damp skin · A will softened by time Soaked · Wrinkled — a final struggle before collapse.
《Persist》, 2025, 3D printed, painted, 9 x 9 x 19 in.
Clinging · Rooting · An obsession tangled like gnarled roots Desire forms steadfast rings of growth — Struggle isn’t always resistance, it’s the stubborn will to live.
《Coalesce》, 2025, 3D printed, painted, 9 x 9 x 27 in.
Fragments · Fusion · A hardened suture We are not shaped by others, but piece ourselves back together — Starting from shards · Reaching for wholeness with what remains.
《Eclipse》, 2025, 3D printed, painted, 9 x 9 x 20 in.
Invasion · Confinement · A scaffold of symbiosis Bones not break free — they rise by leaning on pressure. In alienation, we learn how to keep growing.
《Emerge》, 2025, 3D printed, painted, 9 x 9 x 11 in.
Damp skin · A will softened by time Soaked · Wrinkled — a final struggle before collapse.
The origin of this project lies in my redefinition of the word “fragment.”
It is no longer merely a remnant or a form of incompleteness, but a structural way of thinking, a design methodology, and even a mode through which memory constructs itself.
Fragment is my entry point into reality and structure—it is my way of dissecting the world and myself.
In the early stages of the project, I explored the idea of “fragment” across multiple dimensions:
city and countryside, desire and restraint, individual and collective, reality and imagination…
These elements are both independent and interwoven, like compressed information fragments embedded in the body.
After expanding and examining them, I refined, cut, and finally recomposed them into a spatial installation.
The upper part of the installation is a nine-grid cube made of transparent black glass.
It symbolizes order, systems, social structures, and the realities that are segmented and regulated.
Its clarity and defined boundaries expose a sense of coldness and non-negotiability.
The bottom part consists of 100 modular blocks made of two materials—
50 blocks of transparent resin, representing the lightness and flow of water;
and 50 blocks of high-gloss 3D-printed resin, rigid and reflective, symbolizing the angularity of the city.
They are arranged in an alternating pattern, forming a unified water surface while differing in texture and effect, simulating a state of rupture and fusion between memory, identity, and reality.
The hand cluster is placed in the middle, functioning more as a response and a connection.
Each hand reaches upward in different gestures, expressing longing.
They carry the consciousness that grows between these fragments and structures—
how a person, beneath reality and within the self, uses fragments to piece together, support, and approach a form of wholeness.
Fragments is not about repair,
nor does it narrate a well-organized story.
It simply acknowledges this:
that a structure grown from rupture does not need to be resolved—
it already stands.