Jin Ouyi-Joy
The artist was born in Xiamen(2004), a coastal island city in southern China facing Taiwan across the sea, with family roots in Kinmen, located between the two. She has lived and studied across multiple locations including Macau, Hong Kong, Taiwan, Japan, and Iceland, and is currently based in Paris. Her life trajectory has not followed a conventional educational path; through repeated interruptions and departures from institutional structures, she has continuously reconstructed her sense of self. These non-linear experiences inform her ongoing exploration of the body and gender within diasporic conditions, and the intimate relationship between vulnerability and subjectivity.
Working across photography, writing, dance, and theatre, she examines how an individual confirms their existence within larger historical and structural frameworks. Her practice is grounded in a sustained process of personal recording. She believes that, over time, personal history can exceed the narratives imposed upon it.
Photography becomes a way of affirming presence. Certain places may no longer be accessible, yet the image preserves the trace of having been there, allowing time and distance to be re-encountered. Since childhood, she has maintained a continuous diary practice, and both she and her father have published diary collections, treating writing as a means of sustaining a relationship with the self. Dance returns perception to the body, and through the intersection of hip-hop and contemporary dance, reconnects mind, torso, and environment rather than separating them. Theatre functions as a convergence of forms, where image, text, body, and space meet within a shared moment. Moving between mediums, she approaches creation as a process of continually drawing closer to herself.
SELECTED GROUP SHOWS
2025:
Tides
NTU Gallery
Taipei,Taiwan
2026:
07-10 April
Human Voyage
Indra Gallery, London, UK
22-24 May
Meeting You
LooLooLook Gallery
Paris, France
Silver Dream
Using the photo-zine as a medium, A Silver Dream of Macao transforms urban space into a "paper theater" of memory, capital, and sensory overload. The project takes the Macao stamp pouch as its material starting point, symbolizing the city as a post-colonial signifier—packaged, traded, and priced. Through seven spatial slices, the work dissects this "city of overlapping shadows."
The artist’s perspective emerges from the awkward position of an "internal outsider": having been immersed in Macao’s glittering lights since childhood due to her father’s work, she returned as an adult to pursue her studies. Yet, this return brought a visceral awareness of spatial confinement. Surrounded by a "Casino Matrix," the campus is swallowed by a vortex of concerts, spectacles, and consumer totems. Shifting the gaze from casino fountains to the palm of a hand, the images capture "delirious moments" where the artist, like a captive beast amidst dense tourist tides and gilded pillars, struggles to define her own boundaries. Ultimately, the work questions how an individual can anchor a true subjectivity—at once nurtured and trapped by the spectacle—within the rigid grids of a hyper-dense modern landscape.