How This Sarabande Artist Is Connecting Humans Through Sculpture

Let's talk about the overview effect: a cognitive shift reported by some astronauts while viewing the Earth from space. Although such an overwhelming emotion or state of mind may be utterly unrelatable to most of us, a minor comparison that can be offered up in replacement (despite reflecting only a fraction of similarity) is the feeling of looking down from a plane while taking off or landing - offering us a view of the ground resembling what can only be described as one giant puzzle.

Being able to identify patterns in even the most random of circumstances is, arguably, part of what makes us human. Few creatives know this better than Sarabande artist-in-residence Lulu Wang, whose latest exhibition Human Puzzle - curated by Jessica Wan and supported by WePresent - not only picks up on the intricate puzzle of human existence, but also the the complexities of intimacy, identity, and connection that come along with it. Opening at Sarabande on 26 September with a performance that promises to engage the audience through participation, Human Puzzle aims to piece together the nuances and intricacies behind our human existence, blurring the boundaries of individuality and collectivity in the process.

There is undoubtedly a lot to Wang's works, all of which triumphantly push the boundaries of sculpture thanks to the artist's own interest in 3D printing, which sees her merge live body scans with digital manipulation to create textural and abstract forms. Intrigued by Wang's own investigation into the complexities of intimacy as well as the artist's success in bridging both physical and digital realms, SHOWstudio art and culture editor Christina Donoghue went on her own journey of discovery to find out more.

Christina Donoghue: Can you introduce yourself and your practice?

Lulu Wang: My name is Lulu Wang, I’m a visual and performance artist who works with 3D-printed sculptures and movement.

CD: What was the starting point for Human Puzzle?

LW: The concept of the Human Puzzle is deeply rooted in my ongoing exploration of identity and human nature, particularly through performance art. This project taught me that human interaction with society often revolves around the desire to make intangible moments tangible - transforming ephemeral experiences into something that can be physically owned or observed, like an object that captures the essence of a fleeting moment. I began by challenging myself to express emotional and expressive elements in new, tangible ways, using performance as a form of self-documentation to engage audiences.

The idea of incorporating sculptures emerged naturally as I explored how to translate movement and human expression into a physical form. Although I hadn’t originally intended to work with sculptures, my interest in technology led me to experiment with 3D printing and digital design.

In my work, sculptures and performances are intertwined—one dynamic, the other static. The performance often starts with the sculpture, evolving from it and returning to it, allowing the audience to navigate between movement and stillness.

CD: What first attracted you to 3D printing?

LW: My interest in 3D printing stems from my fascination with the intersection of humanity and machinery. It extends my creative process, allowing me to break boundaries and experiment with new forms. For example in Human Puzzle, I explore intricate patterns that were previously unimaginable with traditional methods.

Working with PLA, a biodegradable material made from corn starch, I add sustainability to my process, giving depth and intention to each piece. I also collaborate with leading 3D printing companies Snapmaker and Kexcelled for my sculptures. Moving forward, I’m excited to explore a wider range of materials, such as biodegradable composites or metal, to further push the boundaries of what 3D printing can achieve.

CD: What is it about the body that fascinates you as an artist?

LW: The body can be explained as a dynamic vessel and ever-shifting space. In my practice, I explore how movement shapes and redefines our experience of space and time. In a recent performance, I focused on the subtle shifts in posture and gesture, capturing how these small changes could convey profound emotional states. The fleeting, yet consistent nature of these movements intrigues me; they are simultaneously transient and enduring, reflecting the complex interplay of emotion and form. This dynamic quality of the body allows me to create work that resonates deeply with audiences, as they witness the delicate balance between the transient and the persistent in human expression.

CD: I’ve read that your passion for technology stems from childhood gaming experiences...please can you expand on this?

LW: This is my 'Side B' - a safe, personal space where I can exist as thousands of versions of Lulu. I started playing video games when I was five, and remember my very first being Pokémon. I love exploring worlds beyond reality, especially in Japanese RPGs like The Legend of Heroes and Ys. It’s about making choices and exploring stories, connecting with each character and navigating their actions. They are an embodiment of you in another world, embodying another life or observing others’ narratives. I’ve always found reading to be a challenge which has drawn me to more visual storytelling like anime and sci-fi films. I’m also inspired by a range of artists spanning disciplines in art and design– Michael Clark and Pina Bausch in movement, Zaha Hadid’s futuristic architecture, and Henry Moore, whose ability to abstract the human form and express it in a minimalist language really resonates with me. I know it sounds crazy, but these diverse influences shape my work, allowing my inner child to be connected between virtual and reality. Each piece I create informs the next, evolving and reinterpreting as part of my ongoing creative journey.

CD: How do you think the physical and digital mediums can complement each other?

LW: My work explores how we use body language to express emotions and interact in relationships. I find it fascinating to take the physical human form and bring it into a digital context, effectively bridging the gap between the physical and digital worlds. In my process, the shapes I use always originate from real, live bodies - they're not digitally fabricated or downloaded from pre-made models. I capture these shapes, each infused with motion and intention, and adapt them using digital software. This is the playful part of my process, where I create unconventional and surreal forms - bodies morphing together, interacting in unexpected ways, or even transforming into elements of landscapes. The results are shapes that defy conventional logic and challenge visual norms. This approach allows me to create connections and interactions that are impossible in the real world. In reality, there are boundaries between our bodies - we can't physically merge into another person. However, in the digital space, this merging becomes possible, allowing for a poetic and performative exploration of human connection that defies physical limitations. It’s never one way or another, I enjoy space travel back and forth in different dimensions - it’s space travel to me. I'm particularly intrigued by how these digital reinterpretations of human forms can evolve into something abstract, alien, and unconventional - shapes that don’t exist within our usual understanding of reality. This blending of the impossible and the real, the logical and the abstract is at the heart of my work.

CD: What do you wish to communicate in your work?

LW: I strive to capture and communicate the diverse spectrum of human experiences in my work. This includes moments of solitude, which can reveal profound insights into our inner lives; intense, high-stakes situations that test our resilience and character; and intimate encounters that reflect our most personal relationships. Through these explorations, I seek to illuminate the complexities of our connections with both ourselves and others. I want my audience to reflect on their own experiences and relationships, and perhaps see them from new perspectives. Ultimately, my goal is to create a space for introspection and dialogue, where viewers or readers can engage with their own emotions and experiences in a meaningful way. I believe that by fostering this kind of connection, my work can contribute to a deeper understanding of the human condition and our shared experiences.

CD: What has this project taught you about the way humans interact with and shape society?

LW: This project has revealed that human interaction with society is not only about direct communication but also about creating spaces where different expressions co-exist. By blending performance and sculpture, I’ve explored how society values both the transient and the permanent, the dynamic and the still. It highlights how humans seek to understand and shape their experiences, constantly engaging with the world in ways that merge the intangible with the tangible.

CD: What do you want the performance element of your work to communicate?

LW: This performance will be my longest to date, lasting 75 to 90 minutes. It will be immersive, and already underway when the audience arrives, deviating from traditional setups. Collaborating with dancers Harri James Eiffert, Louisa Fernando, and Jose Funnell, and featuring sound by Nexcyia and H For Spirit, the performance invites the audience to explore and interact freely, becoming an active part of the experience.

Four dancers, including myself, will perform in various combinations - solo, in pairs, or as a group - with semi-improvised choreography that blends set movements with spontaneous interactions. The audience’s movement and presence will play a crucial role, blurring the lines between performer and observer and creating a dynamic, shared experience. This approach challenges conventional roles and explores the fluidity between performing and observing. In addition to body language, character styling is crucial to my work. Collaborating with design brands such as Rombaut and René Scheibenbauer, and stylist Nicola Neri, we’ve created unique characters inspired by myself and those around me, reflecting personal and creative influences.

Lulu Wang’s exhibition and performance Human Puzzle, is curated by Jessica Wan and supported by WePresent. It will be open to the public over this weekend at the Sarabande Foundation from 26 until 29 September.