Echo Hn Wang

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Congratulations to me for receiving my Ph.D. in Contemporary Practice Research from the Central Academy of Fine Arts. Wa...
19/06/2026

Congratulations to me for receiving my Ph.D. in Contemporary Practice Research from the Central Academy of Fine Arts. Walking in the CAFA degree conferment ceremony with my grandma was the highlight of my entire educational career. So much gratitude goes to my mind-blowing professor Qiu Zhijie, who in many ways shaped me and enlightened me.
So much love for all my family and friends who supported me along this journey—I wouldn’t have done it without you all.
And I have myself to thank the most; I’ve really pushed myself to an extreme, extended my research in a way I never thought I could, and found a path that is truly mine.
So much excitement for the journey ahead—may I always be the brave, sincere, happy version of myself.
Now everyone call me Dr. Wang.

I do not purchase conventional souvenirs. Instead, I collect fragments forgotten by waves, wind, and time — stones, cora...
26/05/2026

I do not purchase conventional souvenirs. Instead, I collect fragments forgotten by waves, wind, and time — stones, coral skeletons, seeds carried by the breeze. Over eight years, these gathered pieces have quietly formed an intangible archive of memory.

As a scavenger, I enter a ritualistic state of creation: rearranging them in water, allowing them to converse. This is not an act of possession, but a return — to nature, to water, to time.

This outdoor pond installation, created for the Macau Children’s Art Festival, embodies that scavenger‘s peace. Stone represents stability; coral signifies disappearance and rebirth; seed suggests future possibilities. In the pond, they no longer remain mere found objects — they become living texts that breathe alongside children, water, and light.

This work also marks my first permanent collection commissioned by the Macau Art Museum. Currently in the making, a three-meter stainless steel piece will be permanently installed in the water pond.

Some paintings from 2025, first solo show ‘Wonderland’ in Sungari Art centre.Through my work, I’ve created a world where...
26/05/2026

Some paintings from 2025, first solo show ‘Wonderland’ in Sungari Art centre.

Through my work, I’ve created a world where you can play forever — a safe, new environment.
Piaget’s theory of cognitive development reminds us that play is how children learn to adapt, think logically, and solve problems.
I want to share the joy I feel while creating, so my work becomes an invitation — inviting you to truly experience these pieces with your own hands and eyes. 👐👀

PlayfulWorld CreativeJoy InteractiveArt

I get a lot of questions about how my pieces happen, here’s a little break down of each step of how I work: Step 1. Find...
20/05/2026

I get a lot of questions about how my pieces happen, here’s a little break down of each step of how I work:
Step 1. Find a collector who needs something in their house 👀 (In this economy, making art for ideologies is overrated
Step 2. Show them the 300 pages of portfolio I’ve got so they can pick something they like from it
Step 3. Work closely with the client on how to make it happen!!
In short, happy client happy life 😌

Played with some seeds and stones today
04/04/2026

Played with some seeds and stones today

Imagined as a memory from the year 2079, this body of work reflects an aquatic botanical garden encountered on alternati...
22/01/2026

Imagined as a memory from the year 2079, this body of work reflects an aquatic botanical garden encountered on alternative universe. I picture myself passing through a portal as a traveler, wandering freely, touching, resting, and exploring without a fixed destination. These sculptures and installations reconstruct fragments of that imagined journey — sensory, playful, and alive.

Building on my ongoing research Play Experiments, the works explore material tactility, sensory experience, and the digestion of personal trauma. Trauma may not disappear, but it can be translated into forms that invite curiosity, play, and bodily engagement.

Rather than static objects, the pieces are meant to coexist with the audience. Through engagement, perceptions of time and everyday sensory habits begin to shift, allowing the inner child to re-emerge within a speculative environment.

We had a wonderful opportunity to bring my workshop, “Tactile Play: Awakening Our Inner Child,” to the 798 Art District ...
13/11/2025

We had a wonderful opportunity to bring my workshop, “Tactile Play: Awakening Our Inner Child,” to the 798 Art District in Beijing. This workshop is founded on my PhD research, focusing on Complex Post-Traumatic Stress Disorder and tactile play intervention in art therapy practice and exploration.

The workshop was broken down into three stages: research sharing, the recreation of a favorite childhood toy, and sharing the memories linked to it. The workshop functioned as an invitation for the participants’ inner child to come out and play.

By creating a safe space for the inner child, each artwork became an opportunity for each participant to reevaluate personal experiences. Through the cross-disciplinary nature of research and art, each participant was able to take away a new touch, a new lead for emotions, or an unnamed self-connection.

Thanks to the kind invitation of the Shanghai McaM museum, I had the valuable opportunity to present a workshop based on...
29/10/2025

Thanks to the kind invitation of the Shanghai McaM museum, I had the valuable opportunity to present a workshop based on my doctoral research. The workshop explored “Tactile Play Art Therapy” interventions for Complex PTSD through recreating one’s favorite childhood toy, how it was kept in one’s memory and how to translate its sense of touch.

We created a safe and symbolic space where participants used tactile materials such as clay, fabric, and plush to reconstruct childhood sensations—accessing emotions without relying on verbal expression. This approach resonated with Winnicott‘s concept of ”transitional objects,“ where play served as an intermediary space for reestablishing security and attachment.

I also shared personal artworks addressing trauma, which examined how the body ”speaks when language fails.“ Through academic discussion and hands-on material creation, participants freely engaged with their memories. Whether they created figurative toys or abstract textures, each piece served as both a personal response and a generator of symbolism.

Beyond mere expression, this process constructed pathways for self-care and mourning. We hoped participants left with new tactile sensations, emotional threads, or yet-unnamed connections to themselves.

A collaboration with my grandma at the Experimental Art Biennale.After retiring my grandmother began studying photograph...
01/10/2025

A collaboration with my grandma at the Experimental Art Biennale.

After retiring my grandmother began studying photography, Chinese painting, and calligraphy at the senior university. Over the past 30 years, she traveled around the world and focused a lot on documentary photographies. During Covid her passion for traveling was restricted so she tuned into experimental photography where she would put different paint into water tanks and capture the controlled uncontrolling moments.

Having grown up with my grandparents, I was most influenced by my grandmother. I still recall one time when she set up the tripod and camera, framed the shot, then had me press the shutter—making it appear as if I had taken the photograph (definitely led me to question authorship). It even won a national second prize(a rather unscrupulous academic fraud).

Now, every time I visit home, my grandmother who’s currently 82 years old would kept on pestering me, “Dr. Wang, give me some guidance! I’ve hit a creative wall—let’s discuss my work.” We would still curl up in the study. Since Grandma can’t hear well anymore, I type on my phone for her to read as we discuss new creative approaches. I can see this still happening in 20 years.

For 30 years when she’s not away for traveling, she kept the routine of spending her morning doing Chinese painting or calligraphy, afternoon doing some photography. I often tell friends how my grandmother keeps me constantly challenged. The example she set for me is one of diligence, hard work, observing life, and loving every leaf. At the New Youth Experimental Art Biennale 2024 held at Jingdezhen’s Tao Xichuan Art Museum, my grandmother and I appeared in a new collaborative form—quite endearing.

《Zaiqing and Axi》2024

Here are some recaps from the opening of “Resonant Differences” in Shanghai, China. It was a lot of fun to showcase my w...
30/07/2025

Here are some recaps from the opening of “Resonant Differences” in Shanghai, China. It was a lot of fun to showcase my work alongside fellow artists from diverse cultural backgrounds and to share our experiences of living in different cultures and the ways these experiences have shaped us.












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