School of Fine Art / MLitt Contemporary Art Practice / Jingjing Tong

Jingjing Tong

(she/her)

b. 2001, China

Jingjing Tong’s creative practice centers on painting, exploring the poetic and mythical qualities that may emerge in daily life. She collects images and fragments from daily observations, memories, and dreams, transforming ordinary objects, animals, spaces, and fleeting encounters into ambiguous visual forms.

She does not regard these images as a faithful reproduction of specific themes, but rather transforms and reorganizes them through painting, sketching, material experiments, and installation art. Unrelated fragments are gathered together, creating unexpected connections, making familiar images strange, symbolic, or suggesting another narrative.

Her works do not follow a fixed linear narrative structure. She views each image as part of a larger picture, with meaning gradually emerging through adjacency, repetition, and displacement. In her irregularly shaped and diverse works, she contemplates how images can transcend their original context and acquire new meanings through interrelation.

Contact

Litongli1@outlook.com j.Tong1@student.gsa.ac.uk

Links

ins:@jing0233

School of Fine Art / MLitt Contemporary Art Practice / Jingjing Tong / Suspended Fragment

Suspended Fragment

Suspended Fragment brings together paintings, irregularly shaped works, objects and installation elements developed from everyday observation, memory and imagination. Ordinary images such as windows, animals, trees and objects are translated through painting and material experimentation rather than directly reproduced.

The project is partly informed by my reading of Olga Tokarczuk’s Flights, which moves between seemingly disconnected fragments of travel, places, bodies and histories. Rather than following a continuous narrative, the novel allows meaning to emerge through the relationships between fragments. I approach painting in a similar way, collecting images from different moments and contexts and intuitively bringing them together.

Although these images may appear unrelated, they are connected through personal memory and association. Each work becomes a fragment within a larger constellation, where new relationships emerge through proximity, repetition and displacement.

This approach extends into the exhibition space, where paintings, irregular forms, wooden structures and objects are arranged in relation to one another. Rather than presenting a single complete scene, the exhibition creates an open field in which observation, memory, imagination and the everyday can coexist.