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Finally have my …Blow… performance edited out ! I’m constantly exploring the relationship between me and the material I’m working. Through making process, they usually not controllable, and I like the accident falling to me. Like you never control your life, you just deal with it until it is compatible.I am so proud that I’m part of @mass.sculpture programme , I have grown my practice year by year, this is my creative hub.From there I met my @changeable_beast , we step by step deliver the best show we can!Finally I’m honored to become a member of @royal_sculptorsI gonna keep making keep practicing ;)

So happy to perform this work at the show Visions in the nunnery curated by @rosiegibbens & @tessagarlandartist @bowarts @nunnery_cafe last Friday!This work talks about motherhood, ambition and inheritance. And los of pain in the ass that we deal with physically & mentally.
這部作品談論了母職、抱負與傳承，以及我們在身心上所面對的各種麻煩與挑戰。
@royal_sculptors
@mass.sculpture
@changeable_beastPhoto credits to @bethany_parkinson

So happy to perform this work at the show Visions in the nunnery curated by @rosiegibbens & @tessagarlandartist @bowarts @nunnery_cafe last Friday!This work talks about motherhood, ambition and inheritance. And los of pain in the ass that we deal with physically & mentally.
這部作品談論了母職、抱負與傳承，以及我們在身心上所面對的各種麻煩與挑戰。
@royal_sculptors
@mass.sculpture
@changeable_beastPhoto credits to @bethany_parkinson

So happy to perform this work at the show Visions in the nunnery curated by @rosiegibbens & @tessagarlandartist @bowarts @nunnery_cafe last Friday!This work talks about motherhood, ambition and inheritance. And los of pain in the ass that we deal with physically & mentally.
這部作品談論了母職、抱負與傳承，以及我們在身心上所面對的各種麻煩與挑戰。
@royal_sculptors
@mass.sculpture
@changeable_beastPhoto credits to @bethany_parkinson

So happy to perform this work at the show Visions in the nunnery curated by @rosiegibbens & @tessagarlandartist @bowarts @nunnery_cafe last Friday!This work talks about motherhood, ambition and inheritance. And los of pain in the ass that we deal with physically & mentally.
這部作品談論了母職、抱負與傳承，以及我們在身心上所面對的各種麻煩與挑戰。
@royal_sculptors
@mass.sculpture
@changeable_beastPhoto credits to @bethany_parkinson

Introducing Changeable Beast member Chuting Lee, who is exhibiting as part of ‘So Where Do We Go From Here?’ invited by @jenmooreprint and @elliereid.art of @changeable_beast

Please come by and be my sculpture’s plinths! 

Chuting is UK-based Taiwanese artist transforming grief and motherhood into sculptural energy. Through high-tension acts on salvaged materials, I bridge the visceral body and architectural site to navigate lived contradictions.

"Tender Weight: I have separated two lives from my own body. They are lovely and need to be nurtured; please, hold them with care". Thank you

@so_where_do_we_go_from_here @bellhousedulwich @dulwichfestival

PV Friday 8 May 6–8pm
Exhibition open: 9/10 and 16/17 May, 11am–6pm

A group exhibition grappling with questions of the future at times of uncertainty, with artist curators Lucy Bainbridge, Monika Kita, Jane Millar & Sarah Sparkes, Jen Moore & Ellie Reid, Kim Thornton, Marianne Walker.

Changeable Beast artists exhibiting:
@aileenkellyart @carolynwhittakerj @leechuting @clare_jarrett @dianawolzak_artist @karenbyrnestudio @kaysenior_prints @rachael.causer @themiddleroomno9 @tessagarlandartist @vivien.delta
@sandy_layton
#sculpture #contemporaryart #collaboration #dulwichfestival #dulwichbellhouse

Introducing Changeable Beast member Chuting Lee, who is exhibiting as part of ‘So Where Do We Go From Here?’ invited by @jenmooreprint and @elliereid.art of @changeable_beast

Please come by and be my sculpture’s plinths! 

Chuting is UK-based Taiwanese artist transforming grief and motherhood into sculptural energy. Through high-tension acts on salvaged materials, I bridge the visceral body and architectural site to navigate lived contradictions.

"Tender Weight: I have separated two lives from my own body. They are lovely and need to be nurtured; please, hold them with care". Thank you

@so_where_do_we_go_from_here @bellhousedulwich @dulwichfestival

PV Friday 8 May 6–8pm
Exhibition open: 9/10 and 16/17 May, 11am–6pm

A group exhibition grappling with questions of the future at times of uncertainty, with artist curators Lucy Bainbridge, Monika Kita, Jane Millar & Sarah Sparkes, Jen Moore & Ellie Reid, Kim Thornton, Marianne Walker.

Changeable Beast artists exhibiting:
@aileenkellyart @carolynwhittakerj @leechuting @clare_jarrett @dianawolzak_artist @karenbyrnestudio @kaysenior_prints @rachael.causer @themiddleroomno9 @tessagarlandartist @vivien.delta
@sandy_layton
#sculpture #contemporaryart #collaboration #dulwichfestival #dulwichbellhouse

This residency at @mass.sculpture took place in the fourth month after giving birth. Although I was still holding my baby through the nights, I found myself full of energy during the daytime whenever I could work—making became my time off. Compared to the caution I had before pregnancy, after separating a person from my own body, I began wanting to try small things I previously didn’t dare to do, such as using power tools. The moment I pressed the switch, the electric saw immediately became my companion.

In this body of sculptures, bodily forms began to emerge. I searched for different configurations of limbs—their gestures and positions, the direction of muscles and bones, upper limbs, lower limbs, or two arms joining into a circle. The base structure is constructed from wood, with thicker blocks suggesting the mass and weight of the body, like muscle. Because I wanted each piece to carry some naturally formed traces, I created a small ritual for them: they had to be splashed with melted crayons, like passing through a shower before entering a swimming pool, before they could proceed to the next stage.

That day, I received some feedback—some people felt the arrangement of the ritual resembled children in a nursery, or a carousel. The crayons inserted like offerings resembled candles, as if celebrating something. I couldn’t help but think of my four-year-old daughter graduating from nursery this year—perhaps this truly does look like a fitting ceremony of celebration. The vibrant splashes of color fall like fireworks, but also like blood and tears.

This residency at @mass.sculpture took place in the fourth month after giving birth. Although I was still holding my baby through the nights, I found myself full of energy during the daytime whenever I could work—making became my time off. Compared to the caution I had before pregnancy, after separating a person from my own body, I began wanting to try small things I previously didn’t dare to do, such as using power tools. The moment I pressed the switch, the electric saw immediately became my companion.

In this body of sculptures, bodily forms began to emerge. I searched for different configurations of limbs—their gestures and positions, the direction of muscles and bones, upper limbs, lower limbs, or two arms joining into a circle. The base structure is constructed from wood, with thicker blocks suggesting the mass and weight of the body, like muscle. Because I wanted each piece to carry some naturally formed traces, I created a small ritual for them: they had to be splashed with melted crayons, like passing through a shower before entering a swimming pool, before they could proceed to the next stage.

That day, I received some feedback—some people felt the arrangement of the ritual resembled children in a nursery, or a carousel. The crayons inserted like offerings resembled candles, as if celebrating something. I couldn’t help but think of my four-year-old daughter graduating from nursery this year—perhaps this truly does look like a fitting ceremony of celebration. The vibrant splashes of color fall like fireworks, but also like blood and tears.

This residency at @mass.sculpture took place in the fourth month after giving birth. Although I was still holding my baby through the nights, I found myself full of energy during the daytime whenever I could work—making became my time off. Compared to the caution I had before pregnancy, after separating a person from my own body, I began wanting to try small things I previously didn’t dare to do, such as using power tools. The moment I pressed the switch, the electric saw immediately became my companion.

In this body of sculptures, bodily forms began to emerge. I searched for different configurations of limbs—their gestures and positions, the direction of muscles and bones, upper limbs, lower limbs, or two arms joining into a circle. The base structure is constructed from wood, with thicker blocks suggesting the mass and weight of the body, like muscle. Because I wanted each piece to carry some naturally formed traces, I created a small ritual for them: they had to be splashed with melted crayons, like passing through a shower before entering a swimming pool, before they could proceed to the next stage.

That day, I received some feedback—some people felt the arrangement of the ritual resembled children in a nursery, or a carousel. The crayons inserted like offerings resembled candles, as if celebrating something. I couldn’t help but think of my four-year-old daughter graduating from nursery this year—perhaps this truly does look like a fitting ceremony of celebration. The vibrant splashes of color fall like fireworks, but also like blood and tears.

This residency at @mass.sculpture took place in the fourth month after giving birth. Although I was still holding my baby through the nights, I found myself full of energy during the daytime whenever I could work—making became my time off. Compared to the caution I had before pregnancy, after separating a person from my own body, I began wanting to try small things I previously didn’t dare to do, such as using power tools. The moment I pressed the switch, the electric saw immediately became my companion.

In this body of sculptures, bodily forms began to emerge. I searched for different configurations of limbs—their gestures and positions, the direction of muscles and bones, upper limbs, lower limbs, or two arms joining into a circle. The base structure is constructed from wood, with thicker blocks suggesting the mass and weight of the body, like muscle. Because I wanted each piece to carry some naturally formed traces, I created a small ritual for them: they had to be splashed with melted crayons, like passing through a shower before entering a swimming pool, before they could proceed to the next stage.

That day, I received some feedback—some people felt the arrangement of the ritual resembled children in a nursery, or a carousel. The crayons inserted like offerings resembled candles, as if celebrating something. I couldn’t help but think of my four-year-old daughter graduating from nursery this year—perhaps this truly does look like a fitting ceremony of celebration. The vibrant splashes of color fall like fireworks, but also like blood and tears.

This residency at @mass.sculpture took place in the fourth month after giving birth. Although I was still holding my baby through the nights, I found myself full of energy during the daytime whenever I could work—making became my time off. Compared to the caution I had before pregnancy, after separating a person from my own body, I began wanting to try small things I previously didn’t dare to do, such as using power tools. The moment I pressed the switch, the electric saw immediately became my companion.

In this body of sculptures, bodily forms began to emerge. I searched for different configurations of limbs—their gestures and positions, the direction of muscles and bones, upper limbs, lower limbs, or two arms joining into a circle. The base structure is constructed from wood, with thicker blocks suggesting the mass and weight of the body, like muscle. Because I wanted each piece to carry some naturally formed traces, I created a small ritual for them: they had to be splashed with melted crayons, like passing through a shower before entering a swimming pool, before they could proceed to the next stage.

That day, I received some feedback—some people felt the arrangement of the ritual resembled children in a nursery, or a carousel. The crayons inserted like offerings resembled candles, as if celebrating something. I couldn’t help but think of my four-year-old daughter graduating from nursery this year—perhaps this truly does look like a fitting ceremony of celebration. The vibrant splashes of color fall like fireworks, but also like blood and tears.

This residency at @mass.sculpture took place in the fourth month after giving birth. Although I was still holding my baby through the nights, I found myself full of energy during the daytime whenever I could work—making became my time off. Compared to the caution I had before pregnancy, after separating a person from my own body, I began wanting to try small things I previously didn’t dare to do, such as using power tools. The moment I pressed the switch, the electric saw immediately became my companion.

In this body of sculptures, bodily forms began to emerge. I searched for different configurations of limbs—their gestures and positions, the direction of muscles and bones, upper limbs, lower limbs, or two arms joining into a circle. The base structure is constructed from wood, with thicker blocks suggesting the mass and weight of the body, like muscle. Because I wanted each piece to carry some naturally formed traces, I created a small ritual for them: they had to be splashed with melted crayons, like passing through a shower before entering a swimming pool, before they could proceed to the next stage.

That day, I received some feedback—some people felt the arrangement of the ritual resembled children in a nursery, or a carousel. The crayons inserted like offerings resembled candles, as if celebrating something. I couldn’t help but think of my four-year-old daughter graduating from nursery this year—perhaps this truly does look like a fitting ceremony of celebration. The vibrant splashes of color fall like fireworks, but also like blood and tears.

This residency at @mass.sculpture took place in the fourth month after giving birth. Although I was still holding my baby through the nights, I found myself full of energy during the daytime whenever I could work—making became my time off. Compared to the caution I had before pregnancy, after separating a person from my own body, I began wanting to try small things I previously didn’t dare to do, such as using power tools. The moment I pressed the switch, the electric saw immediately became my companion.

In this body of sculptures, bodily forms began to emerge. I searched for different configurations of limbs—their gestures and positions, the direction of muscles and bones, upper limbs, lower limbs, or two arms joining into a circle. The base structure is constructed from wood, with thicker blocks suggesting the mass and weight of the body, like muscle. Because I wanted each piece to carry some naturally formed traces, I created a small ritual for them: they had to be splashed with melted crayons, like passing through a shower before entering a swimming pool, before they could proceed to the next stage.

That day, I received some feedback—some people felt the arrangement of the ritual resembled children in a nursery, or a carousel. The crayons inserted like offerings resembled candles, as if celebrating something. I couldn’t help but think of my four-year-old daughter graduating from nursery this year—perhaps this truly does look like a fitting ceremony of celebration. The vibrant splashes of color fall like fireworks, but also like blood and tears.

This residency at @mass.sculpture took place in the fourth month after giving birth. Although I was still holding my baby through the nights, I found myself full of energy during the daytime whenever I could work—making became my time off. Compared to the caution I had before pregnancy, after separating a person from my own body, I began wanting to try small things I previously didn’t dare to do, such as using power tools. The moment I pressed the switch, the electric saw immediately became my companion.

In this body of sculptures, bodily forms began to emerge. I searched for different configurations of limbs—their gestures and positions, the direction of muscles and bones, upper limbs, lower limbs, or two arms joining into a circle. The base structure is constructed from wood, with thicker blocks suggesting the mass and weight of the body, like muscle. Because I wanted each piece to carry some naturally formed traces, I created a small ritual for them: they had to be splashed with melted crayons, like passing through a shower before entering a swimming pool, before they could proceed to the next stage.

That day, I received some feedback—some people felt the arrangement of the ritual resembled children in a nursery, or a carousel. The crayons inserted like offerings resembled candles, as if celebrating something. I couldn’t help but think of my four-year-old daughter graduating from nursery this year—perhaps this truly does look like a fitting ceremony of celebration. The vibrant splashes of color fall like fireworks, but also like blood and tears.

This residency at @mass.sculpture took place in the fourth month after giving birth. Although I was still holding my baby through the nights, I found myself full of energy during the daytime whenever I could work—making became my time off. Compared to the caution I had before pregnancy, after separating a person from my own body, I began wanting to try small things I previously didn’t dare to do, such as using power tools. The moment I pressed the switch, the electric saw immediately became my companion.

In this body of sculptures, bodily forms began to emerge. I searched for different configurations of limbs—their gestures and positions, the direction of muscles and bones, upper limbs, lower limbs, or two arms joining into a circle. The base structure is constructed from wood, with thicker blocks suggesting the mass and weight of the body, like muscle. Because I wanted each piece to carry some naturally formed traces, I created a small ritual for them: they had to be splashed with melted crayons, like passing through a shower before entering a swimming pool, before they could proceed to the next stage.

That day, I received some feedback—some people felt the arrangement of the ritual resembled children in a nursery, or a carousel. The crayons inserted like offerings resembled candles, as if celebrating something. I couldn’t help but think of my four-year-old daughter graduating from nursery this year—perhaps this truly does look like a fitting ceremony of celebration. The vibrant splashes of color fall like fireworks, but also like blood and tears.

The Allure of the Bore
Why am I so obsessed with drilling holes? There is a visceral pleasure in it—the mischievous thrill of breaking something, of puncturing a surface.
I love the hollowness, the way a solid object becomes permeable. To look through a series of holes and see the sunlight streaming through feels like overcoming an obstacle; it feels like achieving the impossible. The tools are so simple, so direct. Yet, even on a vast, blank board where I have total freedom, I find myself compulsively arranging these holes into neat, disciplined rows.
Am I chasing freedom, or am I chasing order?
Regardless, as I move from one hole to the next, I feel a sense of fulfillment. Time feels “filled” by the act of emptying space. The labor itself brings a quiet peace.

The Poetry of the Shavings
I am equally captivated by the wood shavings—the “waste” that becomes something soft and gentle.
Solid wood shavings are coarse; they pile up around the mouth of the hole like tiny fortifications, reminiscent of a small insect burrowing deep and pushing its findings to the surface.MDF shavings are different. As they are channeled through the flutes of the drill bit, they emerge in long, spiraling curls, looking like freshly permed hair.
I never expected the remnants to be so diverse. I find myself sweeping them into a pile with a broom, unable to bring myself to throw them away.Residency records @mass.sculpture

The Allure of the Bore
Why am I so obsessed with drilling holes? There is a visceral pleasure in it—the mischievous thrill of breaking something, of puncturing a surface.
I love the hollowness, the way a solid object becomes permeable. To look through a series of holes and see the sunlight streaming through feels like overcoming an obstacle; it feels like achieving the impossible. The tools are so simple, so direct. Yet, even on a vast, blank board where I have total freedom, I find myself compulsively arranging these holes into neat, disciplined rows.
Am I chasing freedom, or am I chasing order?
Regardless, as I move from one hole to the next, I feel a sense of fulfillment. Time feels “filled” by the act of emptying space. The labor itself brings a quiet peace.

The Poetry of the Shavings
I am equally captivated by the wood shavings—the “waste” that becomes something soft and gentle.
Solid wood shavings are coarse; they pile up around the mouth of the hole like tiny fortifications, reminiscent of a small insect burrowing deep and pushing its findings to the surface.MDF shavings are different. As they are channeled through the flutes of the drill bit, they emerge in long, spiraling curls, looking like freshly permed hair.
I never expected the remnants to be so diverse. I find myself sweeping them into a pile with a broom, unable to bring myself to throw them away.Residency records @mass.sculpture

The Allure of the Bore
Why am I so obsessed with drilling holes? There is a visceral pleasure in it—the mischievous thrill of breaking something, of puncturing a surface.
I love the hollowness, the way a solid object becomes permeable. To look through a series of holes and see the sunlight streaming through feels like overcoming an obstacle; it feels like achieving the impossible. The tools are so simple, so direct. Yet, even on a vast, blank board where I have total freedom, I find myself compulsively arranging these holes into neat, disciplined rows.
Am I chasing freedom, or am I chasing order?
Regardless, as I move from one hole to the next, I feel a sense of fulfillment. Time feels “filled” by the act of emptying space. The labor itself brings a quiet peace.

The Poetry of the Shavings
I am equally captivated by the wood shavings—the “waste” that becomes something soft and gentle.
Solid wood shavings are coarse; they pile up around the mouth of the hole like tiny fortifications, reminiscent of a small insect burrowing deep and pushing its findings to the surface.MDF shavings are different. As they are channeled through the flutes of the drill bit, they emerge in long, spiraling curls, looking like freshly permed hair.
I never expected the remnants to be so diverse. I find myself sweeping them into a pile with a broom, unable to bring myself to throw them away.Residency records @mass.sculpture

The Allure of the Bore
Why am I so obsessed with drilling holes? There is a visceral pleasure in it—the mischievous thrill of breaking something, of puncturing a surface.
I love the hollowness, the way a solid object becomes permeable. To look through a series of holes and see the sunlight streaming through feels like overcoming an obstacle; it feels like achieving the impossible. The tools are so simple, so direct. Yet, even on a vast, blank board where I have total freedom, I find myself compulsively arranging these holes into neat, disciplined rows.
Am I chasing freedom, or am I chasing order?
Regardless, as I move from one hole to the next, I feel a sense of fulfillment. Time feels “filled” by the act of emptying space. The labor itself brings a quiet peace.

The Poetry of the Shavings
I am equally captivated by the wood shavings—the “waste” that becomes something soft and gentle.
Solid wood shavings are coarse; they pile up around the mouth of the hole like tiny fortifications, reminiscent of a small insect burrowing deep and pushing its findings to the surface.MDF shavings are different. As they are channeled through the flutes of the drill bit, they emerge in long, spiraling curls, looking like freshly permed hair.
I never expected the remnants to be so diverse. I find myself sweeping them into a pile with a broom, unable to bring myself to throw them away.Residency records @mass.sculpture

We had an interim show at MaSS hQ @thamessidestudios with @mass.sculpture , it’s a chance to try things out and not really about a public show. We work with the space we have which could have bits and bobs in it. For example, this blue glass kiln, which I have covered to celebrate its owner’s baby/girls birthdays, hence the balloons. Hooray !
#birthdaycake
@leechuting

We had an interim show at MaSS hQ @thamessidestudios with @mass.sculpture , it’s a chance to try things out and not really about a public show. We work with the space we have which could have bits and bobs in it. For example, this blue glass kiln, which I have covered to celebrate its owner’s baby/girls birthdays, hence the balloons. Hooray !
#birthdaycake
@leechuting

Chuting Lee made her sculpture into drawings ，created a series of postcards ready to sale! A body of work that extends from her performance “…Blow…”.

BIZARRE BAZAAR
presented by Changeable Beast at Both GalleryA contemporary Wunderkammer of the unexpected — sculpture, drawing, and print from Changeable Beast artists exploring the curious, uncanny, and beautifully strange. Small works and postcard art for the festive season — thoughtful, collectable, and delightfully offbeat.

A donation will be made from postcard art sales to Crisis at Christmas homeless charity.

📍 Both Gallery, 323 Archway Road, N6 5AA
🗓️ 25–30 November
💫Preview: Thurs 27 Nov, 5–8pm
🕔 Open: Tues–Thurs 5–8pm | Fri–Sun 12–5pm
🥂 Closing Event: Sun 30 Nov, 2–5pm

Come explore a cabinet of curiosities for contemporary times.

@bothgalleryldn

#bothgalleryldn
#BizarreBazaar #ChangeableBeast #BothGallery #LondonArtExhibition #ContemporaryArt #Wunderkammer #SupportArtists #CrisisAtChristmas

Changeable Beast is:
@andygomez.art
@matthewfostersculpture
@rachael.causer
@themiddleroomno9
@t4tano
@vivien.delta
@aileenkellyart
@carolynwhittakerj
@clare_jarrett
@leechuting
@dianawolzak_artist
@elliereid.art
@kaysenior_prints
@susanyoungart
@tessagarlandartist
@karenbyrnestudio
@alex.snax
@sandy_layton

Pocket sculptures ! What a great talk/workshop with @davidkefford today at @mass.sculpture ;)

Pocket sculptures ! What a great talk/workshop with @davidkefford today at @mass.sculpture ;)

Pocket sculptures ! What a great talk/workshop with @davidkefford today at @mass.sculpture ;)

Pocket sculptures ! What a great talk/workshop with @davidkefford today at @mass.sculpture ;)

Didn’t expect that I could be productive at this term of residency @mass.sculpture really happy what I’ve got!@changeable_beast@royal_sculptors

Didn’t expect that I could be productive at this term of residency @mass.sculpture really happy what I’ve got!@changeable_beast@royal_sculptors

Didn’t expect that I could be productive at this term of residency @mass.sculpture really happy what I’ve got!@changeable_beast@royal_sculptors

I’m thrilled to be selected for ‘Vision in the Nunnery’ at Bowart @bowarts. I will be performing’…Blow…’ @nunnerycafe at 7:30pm !

Please come to Nunnery Gallery the Friday October 3rd6-9pm opening with performances from 7pm by @tallulah_haddon @jennetthomas @lauradeemilnes and @leechuting

Visions in the Nunnery Programme 1 is curated by @rosiegibbens , artist and selector @tessagarlandartist , and @bowarts .

I’m thrilled to be selected for ‘Vision in the Nunnery’ at Bowart @bowarts. I will be performing’…Blow…’ @nunnerycafe at 7:30pm !

Please come to Nunnery Gallery the Friday October 3rd6-9pm opening with performances from 7pm by @tallulah_haddon @jennetthomas @lauradeemilnes and @leechuting

Visions in the Nunnery Programme 1 is curated by @rosiegibbens , artist and selector @tessagarlandartist , and @bowarts .

I’m thrilled to be selected for ‘Vision in the Nunnery’ at Bowart @bowarts. I will be performing’…Blow…’ @nunnerycafe at 7:30pm !

Please come to Nunnery Gallery the Friday October 3rd6-9pm opening with performances from 7pm by @tallulah_haddon @jennetthomas @lauradeemilnes and @leechuting

Visions in the Nunnery Programme 1 is curated by @rosiegibbens , artist and selector @tessagarlandartist , and @bowarts .

‘Venus, Penis’@mass.sculpture @masscohort2025 @royal_sculptors. #delphianopencall

‘Venus, Penis’@mass.sculpture @masscohort2025 @royal_sculptors. #delphianopencall