With their rich collections of historical decorative arts and classical Chinese porcelain; Nasjonalmuseet, Nordenfjeldske Kunstindustrimuseum, and KODE offer a particularly meaningful context for Wang’s contemporary vessels. The acquisition of these three works places Wang’s practice in dialogue with the histories and collections of the institutions themselves.

Celadon Dragon Jar I, Celadon Dragon Jar II, and Burning Heart were recently presented in Wang’s solo exhibition In Between the World at QB Gallery (2026).

Wang’s ongoing project series Exotic Dreams and Poetic Misunderstandings combines her lived experience as an immigrant artist moving from China to Norway with the long-standing history of cultural exchange between East and West.

At the heart of the project is Chinese porcelain, functioning both as a reference to the goods and ideas that have travelled between these parts of the world and as a symbol of the body, marked and transformed by influences and experiences that lead to growth, pain, and change. In her work, Wang therefore seeks to give cold and hard porcelain the tenderness and vulnerability of flesh.

East and West are often portrayed as separate worlds, despite the long history of exchange between them. Wang draws attention to the ways in which they have shaped one another, bringing distinct visual languages into dialogue within a single body of work.

She draws on a range of traditional Chinese techniques and forms, including the pear-shaped yuhuchunping vessel, yingqing glaze, cobalt-blue underglaze painting, overglaze colour, and gold.

These recognizable historical expressions are transformed through imagery drawn from Western tattoo culture, the human body, and skin, creating a dialogue between ceramic tradition and contemporary visual culture.

Drawing on Kintsugi as both a visual and philosophical reference, Wang uses gold to highlight places of vulnerability and give them value. In the traditional Japanese practice, broken ceramics are mended with gold, transforming fractures from damage to be concealed into visible traces of an object’s history. Wang similarly allows gold to mark and emphasise vulnerability, connecting the fragility of the porcelain vessel with the histories it carries. Here, fracture becomes not something to erase, but part of the object’s transformation and identity.

Moving between Jingdezhen, China, and her studio in Oslo, Norway Wang’s practice brings together different histories, places, and visual languages. Her work reflects her lived experience as an immigrant artist, where distinct visual languages become part of a shared whole.

Lin Wang (b. 1985, China) graduated from the China Academy of Art and the Bergen Academy of Art and Design. Working across sculpture, installation, and performance, she employs porcelain as a recurring material within a broader practice that also incorporates food, tattooing, sound, video, and scent. Through these diverse media, Wang explores how art can create spaces for encounters between people, histories, and cultural experiences.

Many of Wang’s works draw on the history of porcelain as a traded commodity between China and Europe. Since 2016, she has developed *Exotic Dreams and Poetic Misunderstandings*, an ongoing series of installations, performances, and collaborative projects that examines perceptions, misunderstandings, and connections between Eastern and Western cultures. Combining references to Chinese porcelain traditions, maritime history, tattoo culture, and personal narratives, her work explores questions of identity, trade, migration, and cultural exchange.

Wang’s work is represented in numerous public and private collections, including the National Museum of Norway, KODE, the Nordenfjeldske Museum of Decorative Arts, and the Oslo Municipal Art Collection. She has presented solo exhibitions at venues including Kunsthall Grenland, the Vigeland Museum, and the Trondheim Centre for Contemporary Art.