Print (MA)

Jiaxin Tang

Jiaxin Tang was born in 1995 in China and work and live in London and Beijing. She completed a BA in Print course at the Central Academy of Fine Art graduating in 2017 and from there decided to continue to studyPrint at the Royal College of Art.


03/2020 IN REVIEW | Southwark Park Galleries | London/

03/2019 Hockney Exhibition | Hockney Gallery | London/

01/2019 Work in Progress Show | Royal College of Art | London/


Degree Details

School of Arts & Humanities

Print (MA)

I interact with art that demands time, quietness, and sensitivity, paying attention to the subtle traces that are easily overlooked. This is my area of practice. Of concern are notions of time and space, a slow engagement with our surroundings both immediate landscape and environment, but also the macro, looking out into the galaxy and the feelings this evokes. The pieces are often smaller in scale, even hand held and these inform the audience’s experience of being with the works. 

 The focus is upon particular characteristics of printmaking and its tracesmy practices explore methods of working with materials (especially paper). These include printmaking and related fields (such as the artist's book), which demonstrates my interest in what I refer to as the "shallow space" above and below a piece of paper, through the use of various working methods such as embossing, poking holes, and wetting or dampening surfaces.  

My works share common interests in the territory of mark making though with different emphases. They originated in the discussion of materiality where an element of intuition is implicit. 

The ripples of shade/1800mm*800mm — ‘Beauty is not in the thing itself, but in the ripples of the shadows produced by the objects.’ [Junichiro Tanizaki]

The ripples of shade1[detail] — There is a shallow convex shape wrapped in a fine net somewhere in the darkest and a subtle light is reflected at the edges. Light gray seems to be shrouded in dusky haze against a deep background.

The ripples of shade Ⅰ,Ⅱ&Ⅲ

The ripples of shade Ⅰ

The ripples of shade Ⅳ,Ⅴ&Ⅵ

The ripples of shade Ⅵ

The ripples of shade Ⅴ

The ripples of shade[detail]

The ripples of shade[in shade]

Things shrouded by shade are always different. The more you gaze at the dimness, the more the dimness attracts attention like a vortex in the ripples of the shadows produced by the objects.


comprehensive materials


1800mm*800mm /490mm*690mm

Starry fingertips/手可摘星辰 — A stop motion video of Starry fingertips/手可摘星辰 [about 1:00min]

Starry fingertips/手可摘星辰 — The book is in the form of Dos-dos, opened from different sides according to different reading habits, which shows different constellation systems and the thought about the starry night in eastern and western. Although facing the same sky, people's imagination about distant and unknown is quite different.

手可摘星辰/PAGE[冬] — 绸缪束薪,三星在天。 [诗经·国风·唐风·绸缪]

Starry Fingertips/PAGE[Autumn] — Bootes, Bootes, the Herosman


PAGE[All star scroll]


PLATE[open bite]


The stars are far away in the distance, but touch is the most direct and intimate way of perception. Combined with the interactive nature of books, the starry sky is within reach of our fingertips and people's imagination of time is evoked through a sense of the book's tactility and the embossed images on its surface.
The stars imply time out of mind.


200mm*200mm/about 1:00min

The rainy days are no longer coming

The rainy days are no longer coming

The rainy days are no longer coming

The rainy days are no longer coming — It about change/ It about loss/ The rain fell on the paper each day From midnight until the next/ A new piece every time.

The rainy days are no longer coming — The piece of 21st November 2019 London

The rainy days are no longer coming

The rainy days are no longer coming

Since it is almost raining every day in London, I made a ritual of putting a piece of paper outside at midnight and collected it the next day. The pieces of paper are directly engaged in this every day activity from 1st November 2019 to 30th November 2019, each night a new sheet.
Rain evaporates back into the air and becomes the rain again.

The event is often invisible, but it was recorded to some extent through the way of intervening materials.
The whole process from wetting to re-drying reshapes the arrangement of paper fibers, so the wetted paper cannot return to a completely flat state, due to different humidity, leaving small and different undulations.

Manipulation of natural substance leads inevitably to unpredictable results in this work, giving chance full reign.

I collected rain‘s work for a month and scanned them. Those shallow fluctuations became light and shadow on the prints, and the original paper recording the three-dimensional trace returned to two-dimensional.









Elsewhere Ⅰ

Elsewhere Ⅰ [detail]

Elsewhere Ⅱ


Elsewhere[collection of plates] — I separate every element in different shapes of zinc plates, they can be shifted and combined freely. I became aware of the spontaneity, opening up a filed of transformation.

Paper is my space for gardening.
The work is like making ‘landscape bonsai’. Different elements are condensed and abstracted into the tiny quadrangular courtyard, forming a structure from chaos. The artificial landscape generated in this way originates from a secret space that exists 'elsewhere'.


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