About
An independent artist, is currently based in Guangzhou.
Graduated from the Department of Art Design at the Guangzhou Academy of Fine Arts in 2014
In recent years, l have focused on art creation using paper as the primary medium. My work merges form and poetry, responding to contemporary life through the poetics of materials, while exploring the relationship between humans and nature, as well as humans and materials. At the same time, my creative practice emphasizes the gentle power and possibilities of the "hand".
In 2019, established ssan studio, collaborating with brands such as Hermès,Cartier, Aesop, Tencent among others.
→ Read More
Solo Exhibition
2024 Sanhuang Xu Paper Fantasy Exhibition, Star Ring International Commercial Center, Guangzhou, China
Group Exhibition
2024 Riding the East Wind: Lunar New Year Kite-Themed Exhibition, Nantou Ancient Town, Shenzhen, China
2024 "Generation Butterfly", Hangzhou Art Center, Hangzhou, China
2022 Exhibition within an Exhibition by Maywa Denki Collaborative Artists. Aimer Art Center, Beijing, China
Residency
2024-2025 aranya jinshanling art residency program, China
Xu Sanhuang
| Work Introduction
Resonance of the Wild (2025)
150x150x30cm |2025
Paper, rocks, branches, fishing line, stainless steel, glue
© Image from artist
This work takes specialty paper, along with rocks and branches fromJinshanling, as its primary mediums and is displayed in the semi-openspace of Shangyuan. As the wind passes through the installation, it stirssubtle collisions between the materials, creating a shifting soundscape. The wind becomes an invisible participant, shaping the final form of the work. Here,l am no longer the absolute creator but someone who relinquishes part of my control. l have come to realize that creation is not about complete dominance, but about learning to coexist with the uncontrollable.
A Stroll, Perhaps in the Mountains (2025)
A series of five pieces, dimensions variable |2025
Paper, pine needles, glue
© Image from artist
This series of works stems from my experience of strolling through themountains, where pine needles and specialty paper become the mediumsfor exploring the dialogue between body and environment. One by one, lembed the needles into the paper’s surface, their repetition echoing therhythm of a stroll-each gesture an extension of a step, each mark carryingthe drift of thought.
A stroll may unfold in the mountains, or perhaps within the mind, upon a tree, within a single pine needle. In the quiet interplay of movement and repetition, body, material, and landscape merge, dissolving the boundaries between them.
Leaves’ Shadow Turns to Script Series (2023)
Dimensions variable | 2023
Plants, paper, glue
© Image from artist
In forests and rural landscapes, fallen leaves, once withered and detached from their branches, return to the earth, becoming nourishment for new life. In cities, however, they are often reduced to waste, something to be cleared away.Through the intervention of paper, l seek to offer dried leaves a new form of existence, exploring the continuation and transformation of natural life. This process unfolds through a simple yet sustained action-an attempt to understand the vitality of trees, particularly in the fallen leaves and branches that persist beyond their descent.
The repetitive actions in my creative process allow me to enter a space of solitude. Meanwhile, the leaves, through this temporal cycle of repetition, gradually wither further. My thoughts flow with their transformation, and it is precisely this flux that makes the process so captivating. By understanding their state, l come to understand the discomforts and contradictions l experience in life. Through the act of creating them, l come to understand myself.
Poetry of Paper Series (2022-2023)
Dimensions variable | 2022-2023
Paper, glue
© Image from artist
Following my intuition and the tactile sensation of the paper in my hands, !randomly combine elements under the light, capturing moments of inspiration and allowing my creative thoughts to flow. They are materialized inspirations, thoughts, and feelings. They are a series of works without real significance, yet still worthy of close observation and perception.
Subtle， useless， eternal white (2021)
83×33×7cm, A series of five pieces | 2021
Paper, wood, aluminum, glue
© Image from artist
I reinterpret elements of ancient Chinese musical instruments through a contemporary approach, translating them into a rational visual composition using the inherently tactile and expressive medium of paper. By harnessing the unique qualities of paper to produce unexpected sound effects, l seek to blur the boundaries between the visual and the auditory.
Paper is not merely a material carrier but a medium that triggers subtle perception and sound creation. Its unique texture heightens human sensitivity to the slightest changes. In this series, “uselessness” is not only an expression of paper’s functionality but also a philosophical exploration of the relationship between sound and form. Through the repetition of language, l seek to explore its potential for self-dissolution-when words are repeated continuously, they ultimately cancel each other out, returning to nothingness.
When the Wind Blows (2024)
190x80x80cm
Stainless steel, paper, glue
© Image from artist
The wind's movement embodies the flow of invisible forces, and paper gives this abstraction a tangible form. Inspired by Guangzhou’s fortune windmills, this installation explores paper’s potential to express dynamic natural forces, examining wind’s energy and its transformation in human perception.
These windmill installations embody the wind while serving as an interactive bridge between it and the audience. They shift viewers from passive perception to active participation. Through paper as a medium, the work explores the deeper connection between humans and nature.
Resonance of Points and Lines (2024)
Variable
Bamboo, paper, glue
© Image from artist
Inspired by traditional Chinese kite culture, the work combines modern aviation concepts to explore the dynamic relationship between “point, line and surface” . The point represents the individual kite; the line symbolizes the connection between human and kite, as well as the extension and intertwining of the flight path; the surface is the space formed by the dynamic changes of the line. The installation completes the expression of the work through the interaction of the audience.