Meilin Fu is a cross-media artist currently living and studying in London, pursuing an MFA in Fine Art at Goldsmiths, University of London. Her practice unfolds between embodied experience and historical fragments, working through moving image, sculpture, installation, artist books, and painting to explore memory, religion, modernity, and the material forms of time.
Her methodology carries an ongoing “archaeological” sensibility: drawing on fragments, relics, texts, and site-based observation, she moves between intuition and research to construct a visual grammar situated between personal narrative and collective history. She is particularly concerned with the contemporary translations of ancient and sacred moments—layers of time, the materiality of belief, ruptures in history, echoes of language, and the ways in which matter becomes a vessel for memory and historical presence.
Meilin has maintained a nomadic presence within the field of contemporary art through short-term residencies, field-based travel, collaborative projects, and interdisciplinary moving-image practices. Her work aims to cultivate an ongoing methodology: continuously recording the temporalities of body and spirit, allowing materials and ideas, individuals and communities, the ancient and the modern to collide and generate new forms within her practice.
My practice often begins by entering a place and paying attention to how a local environment shapes people’s rhythms, relationships, beliefs, and ways of understanding life. Through moving image, text, and installation, I try to turn these observations into questions. My previous residency experiences have deeply influenced this approach. Spending time in a place removed from urbanised rhythms prompted me to reflect on how a landscape can shape our consciousness, and how we might cultivate a more humble attitude towards nature.
In Lanzarote, I would like to continue this line of inquiry within the context of the farm and the island. I am interested in how land, daily routines, ecological conditions, and a slower communal atmosphere might open different forms of awareness. This way of working begins with observation and embodied experience, then grows through cross-media forms of recording and reflection. Combined with the unpredictable possibilities that Lanzarote may offer, I see this developing into a research-based project whose final form will emerge through the residency itself. It may become a moving-image piece, an installation, a work combining text and material fragments, or an action shaped by the place and its encounters. For me, this is also a way of understanding art as change-making: by making space for reflection and shifting awareness through place-based experience.
