廖倩 Liao Qian [leow chi-an]

b. 1998 in Guangzhou, China
based in Brooklyn, New York, homeland of the Lenape.

I’m a polyphagous artist; I practice within and across multiple disciplines including visual art, dance, music and bilingual writing (with a poetic life of its own or to narrate my other creative works). Image making is my strength and investigating the powers of non-verbal communication is where my passion lands. Why talk if we can sing instead?

My english speaking friends call me Joss;)



photo taken by Morrison Gong in 2022


  • 女娲计划 Nüwa project

  • A series of ceramics sculptures from

  • 2022-2023

I’ve been fascinated with a Chinese mythological goddess called 女娲 (Nǚwā). In ancient Chinese folk stories, Nüwa sculpted humans out of earth, blew life into and animated them. Nüwa inspired my material curiosity towards clay, especially the healing power of clay. Another Nüwa story I grew up with is called 女娲补天 (Nüwa mends sky/heaven). In this story, a catastrophe happened, the sky broke and people were dying. Nüwa used a stone (七彩石) to mend the sky. I find this story a powerful metaphor for healing, especially connecting to my lineage of generational trauma in the Chinese household I grew up in. 

In this series of works, I focused on the gift of femininity in my family and aimed to conntect it to a more universal sense of female lineage through comparative cultural studies. My curiosity towards mother goddesses drew me to self-guided research on revisionist mythology and cross-cultural archetype studies. For example, I found that the creator of life from clay story is prevalent in numerous regions and cultures besides Nüwa in China.

Borrowing ideas from Black Looks: Race and Representation, a book by Bell Hooks, I stand by the sentiment that no groups or individuals should be remembered solely for their history of oppression, but the strength, the joy, and salvation we generate within ourselves. 

Image making wise, I was playing with ancient Chinese visual culture found in archelogical studies (半坡陶符), magical symbols from Hayao Miyazaki’s movies (Who doesn’t love Howl?) and the sorcerer, cave art found in 'The Sanctuary' at the Cave of the Trois-Frères, Ariège, France, made around 13,000 BCE.