Drop Hole is Yuyu Wang's first solo exhibition at Studio Gallery. The exhibition brings together the artist’s sculptural works, paintings, and documentary performance videos created between 2019 and 2023, inviting the audience to feel and experience the interlacing tensions of fragility and strength embodied across different works.

The theme of this exhibition, "Drop Hole" (落穴), originates from a three-dimensional cutting technique — a tunnel-like structure that connects two holes. The larger the volume of the skirt, the more pronounced and sculptural the structure becomes.[1] When fabric is draped directly over the body or a dress form, techniques such as cutting, folding, gathering, and stretching are used to shape the material, causing basic geometric forms to converge into a new entity. Within these constructed surfaces, a dynamic imagination of falling unfolds. The Drop Hole (落穴) acts more like a dynamic model of breaking through boundaries.

Throughout her practice, Yuyu has centered on sculpture, which in turn connects to installation, performance, and drawing. Leftover materials from sculptural production, scattered sketches from notebooks, and subtle sensory details from daily life are transformed, absorbed, and integrated into her works. The patchwork technique frequently employed in her work is inspired by the ethos of "cherishing materials" (惜物) embodied in the daily practice of her grandmother. In her living space, cushions, door curtains, and other household items are often made from small fabric pieces or even plastic packaging. These materials are carefully washed, neatly stitched, and given new life. For Yuyu, such domestic and gendered handiwork represents an experimental practice of re-stitching individuality, time, materiality, the body, and memory.

Moving from explorations of bodily perception to embodied labor, Yuyu’s practice integrates bodily movement, materiality, traces of handmaking, and spatial relations. The circle serves as a methodological model—a temporary form emerging from the contact between body and material in performance videos; a structure built through holes and spherical masses in sculpture; overlapping curved pencil lines in drawings. These practices continually gather and disperse along circular arcs, emphasizing the significance of process and experience.

Since 2020, Wang Yuyu has combined intimate garments with silicone, iron wire, plaster, and other materials to create porous, nest-like forms. Shifting from flesh-toned palettes to varying shades of grey, the patchwork and layering of different materials generate positive and negative spaces, producing both form and weight. Sharp materials (such as needles and hair) embedded within soft, elastic "shells" speak quietly of personal wounding, struggle, and resistance.

[1] Tomoko Nakamichi, Pattern Magic, 2010.