Jes Fan's (b. 1990, Scarborough, Canada) interdisciplinary practice explores the intersection of biology and identity, incorporating living matter, as well the invisible substances that shape how we experience the world like melanin, and hormones, into his sculptures. Through this process, Fan looks at how these highly politicized materials form our understanding of the social constructs of race and gender, and the absurd pursuit to locate these to quantifiable amounts of material. Originally trained in glassmaking, Fan combines hand blown cellular glass forms with casts made from sections of human bodies, cast in aqua resin and bearing uncanny flesh-like tones. Removed from the context of the figure, these forms take on abstract qualities, repeated and distorted across architectural armatures, suggesting an experience of the body that is increasingly intertwined with, and mediated by technology.
Jes Fan lives and works in Brooklyn and Hong Kong. In 2022, Fan participated in The Milk of Dreams The 59th International Art Exhibition of La Biennale di Venezia curated by Cecilia Alemani, Venice. Additionally Fan’s work has been included in numerous group exhibitions, including Symbionts: Contemporary Artists and the Biosphere, MIT List Visual Arts Center, 2022, Breaking Water, Contemporary Arts Center, Cincinnati, 2022, Soft Water Hard Stone, The Fifth New Museum Triennial, New Museum, New York, 2021, The Stomach and the Port, Liverpool Biennale, United Kingdom, 2021, NIRIN, Biennale of Sydney, Australia, 2020, The Socrates Annual 2019, Socrates Sculpture Park, Queens, 2019. Fan was awarded a Pollock-Krasner Grant in 2022. In 2023, he will present his second solo show with Empty Gallery, Hong Kong titled Sites of Wounding: Chapter 1.