Wang Yefeng is a new media artist. He was born in 1984, in Shanghai, China. He left China for the United States after completing his BFA at Shanghai University, and received his MFA in Art and Technology Studies at the School of the Art Institute of Chicago in 2011. In 2013 he began teaching and building the Digital Media Art program at Rhode Island College as an Assistant Professor. Yefeng is currently based in Providence, RI and New York, and constantly travels back and forth between the United States and his hometown, Shanghai.

Yefeng actively pursues his artistic career in both East and West, and continues to think and work critically across media including Experimental 3D rendering and animation, video installation, virtual reality, and 3D printing. Yefeng has extensive experience exhibiting in venues internationally, which include Co-prosperity Sphere Culture Center(Chicago, IL), El Museo Cultural de Santa Fe(NM), Herald Square(NY, NY), Xuzhou Museum of Art(Xuzhou, China), HEREarts Center(NY, NY), The Museum of Luxun Academy of Art(Shenyang, China), Gene Siskel Film Center(Chicago, IL), Hyde Park Art Center(Hyde Park, IL), Hong Kong Art projects Gallery(Hong Kong), Between Art Lab(Shanghai, China), Govenors Island Art Fair (NY,NY), Chi K11 Art Museum (Shanghai, China), etc. He was also a residency artist and juried panel member in NARS Foundation in Brooklyn, NY.



I work with the digital visual culture and our ecstasy of the superficiality in post-modern society. The fascination with digital virtual images for art making does not derive only from exploring the alluring possibilities, but also working with its problematic. The digital virtual world is cold and isolated but never lack of fun experiment. The superficiality of consumerism is absurd, spectacle, overwhelming, and ironically profound and effective. Both of them are the sequence of calculation for utmost efficiency. Both of them are the glamor and outrage inherent in the system of mathematical binary. Both of them are my biggest addictions and fear.

My digital avatars are the products of this system of mathematical binary, and created as my personal incarnation. I am fascinated with my virtual characters because they eternally pursue a status of peaceful meditation but always end up as neurotic grotesques. The digital worlds I fabricate often appear as dramatic stages, and contain fragments from the real world I live in. They assist me with the process of exploration. My narrative is an uncanny complex of my Chinese foundational inheritance, a blurred memory of political outrageousness, and the extensive influence of Westernized consumerism. The juxtaposition of these seemingly contradictory facts reflects me as a Chinese who is immersed in the vortex of both a social and personal dilemma.