1991 Born in Jiangxi Province

2013 Graduated from the Department of Print of Tianjin Academy of Fine Arts with a bachelor's degree

2017 Graduated from the Department of Print of Tianjin Academy of Fine Arts with a master's degree

Currently works and lives in Tianjin

SOLO EXHIBITION

2017

I Dug out a Word from the Silence - Wang Mi Solo Exhibition, Home Art, Tianjin, China

GROUP EXHIBITION

2020

Cultural Inheritance·Innovation - Yichun Print Works Literature Research Exhibition, Yichun Art Museum, Jiangxi, China

2019  

The Flowing Visual Threshold - The Third Binhai Printmaking Camp Exhibition, Tianjin Art Museum, Tianjin, China

Art Tianjin: Ferry 3.0, Beining Cultural and Creative Center, Tianjin, China

Germany Hahnemühle Chinese Youth Prints Award, ChinaPrint Art Museum, Shenzhen, China

“Up to the New Town, Down to the Binhai District, Circulate in between”, Tianjin Binhai Art Museum, Tianjin, China

2018  

Visual of the Virtual Era - The 9th New Star Art Award, Jiangsu Center for the Performing Arts, Nanjin, China

The 6th Guangzhou Triennial Parallel Exhibition: Urban Focus III - “Editorship: the Collection, Process, and Reproduction of Information”, MANIFOLD Art Group, 33 Art Center, Guangzhou, China

Nowadays our society has given us the overloaded wholesale aesthetics, the "beauty" that we can easily get is full of everyone's surroundings. Wang Mi's creation is aimed at this kind of overflowing aesthetics, using unique perspective and feminine ridicule to fight back. The carrier of counterattack is the individual in the society and the form of self deconstruction. When having no time to face the big world, Wang Mi chooses to interpret the neon illusions of the big world with the images of micro life. In other words, as a product of socialization, the artist's personal situation will inevitably bring about the industrial age. Any contemporary may have the experience of identity, and the advantage of expressing the true self will establish a more solid cultural identity. Today, our focuses and emotions are controlled by the age of consumerism in the new social life. Wang Mi's paintings always playfully use the pen or knife to leave some traces on the hearts of the controlled people. These traces will eventually touch them when needed, and are meeting their demands for the peculiar interest in the "passive" times. -Song Zhenxi (Curator, Art Critic)