Chenxi Shao Explores Identity, Ecology, And Art Through Organic And Industrial Materials

Blending Nature And Culture To Challenge Boundaries

Chenxi Shao’s art merges organic materials like mycelium with industrial objects, exploring themes of identity, alienation, and sustainability while addressing ecological and cultural tensions in a post-modern, capitalist world.

Chenxi Shao is a visionary artist whose work transcends boundaries—geographical, cultural, and material. Born in Tianjin, China, and now based between Beijing and Philadelphia, Chenxi’s art is a profound exploration of identity, memory, and ecological ethics. Their practice, which spans sculpture and animation, is deeply informed by their background as an ecological researcher, offering a unique lens through which they examine the intersections of nature, culture, and human experience. With a remarkable ability to weave together the personal and the universal, Chenxi’s work challenges conventional narratives and invites us to reconsider our relationship with the world around us.

Chenxi’s art is a testament to their innovative spirit and intellectual depth. Their use of organic materials like mycelium and rocks, combined with industrial and everyday objects, creates hybrid forms that are as thought-provoking as they are visually striking. These works not only address pressing environmental concerns but also delve into themes of alienation, identity, and the tension between tradition and modernity. Exhibited in prestigious venues across the globe, Chenxi’s creations resonate with a poetic urgency, offering an elegy for life in the face of ecological and societal decay. It is an honor to feature Chenxi Shao in this issue of WOWwART Magazine, where they share insights into their creative process, inspirations, and the profound messages embedded in their art.

“Mycelium symbolizes resilience and transformation, reminding us that growth often emerges from decay.” – Chenxi Shao

What inspired you to incorporate mycelium and rocks into your art practice?

I began incorporating mycelium into my sculptures after reflecting on personal experiences with cancer and vitiligo in my family. The invasive spread of cancer and the white patches of vitiligo in the body felt like a process of alienation, both physically and emotionally. Mycelium, as it spreads and forms structures with its hyphae, seemed to mimic the biological process of these diseases.

I was also inspired by the book Mushroom: At the End of the World. The idea of mycelium creating a “third nature” within a capitalist framework intrigued me, so I began to explore how it could be used in sculpture.

Rocks, on the other hand, tie back to my interest in the history of the silicon industry. I’m fascinated by how raw materials, like sand, can symbolize a technical gap and an unfinished, evolving process.

 Can you share more about the process of growing mushrooms in unusual materials for your artwork?

Initially, I grew mycelium using a ready-made mycelium substance. Inspired by its spreading and growth, I wondered if it could interact with everyday waste materials. So, I started experimenting by combining mycelium with materials like cotton fabric, receipt paper, brown paper, wound paste, disposable masks, and earplugs. For each material, I divided them into three layers and placed them at different levels within the mycelium. After two weeks, the mycelium had grown through all the materials, merging with them in interesting ways.

One of the pieces I created using this process is called Professor, where I grew mycelium with a disposable mask in a mold to form an organic structure. This new material felt exciting and full of potential.

“Illness often feels like a betrayal by our own body, yet within it, nature reflects processes far beyond our understanding.” – Chenxi Shao

How do you see the relationship between nature and art in your creations?

Nature and art in my work are deeply intertwined. Nature, through mycelium and other organic materials, offers an unexpected form of agency and life that contrasts with the artificial and constructed nature of human-made art. I try to explore how these materials mimic or represent the complexities of identity, alienation, and environmental concerns.

What challenges have you faced while working with organic materials like mycelium?

The biggest challenge has been maintaining an aseptic condition. Mycelium cultivation requires sterilizing the environment to avoid contamination, which is difficult without a proper lab. During my MFA, I had access to a biodesign lab, but since I don’t have that access now, I’m exploring alternatives, like using UV light and alcohol to sterilize mycelium in a small room. Achieving a controlled, clean environment is crucial for successful cultivation.

 How do you think your work contributes to conversations about sustainability or environmental awareness?

By using bio-materials, my work directly contributes to sustainability by reducing CO2 emissions compared to traditional sculptural materials and processes. However, I also aim to connect environmental concepts with broader social and cultural narratives. My art practice seeks to find new ways of integrating environmental consciousness into art-making, encouraging a dialogue on the potential for more sustainable practices in contemporary art.

 Are there specific themes or messages you aim to convey through your art involving natural elements?

The themes of alienation and identity are central to my work. Through living materials like mycelium, I explore how the body grows and changes, but also how it can become alienated. Drawing from the book The Mushroom at the End of the World by Anna Tsing, I use mycelium’s function as a decomposer and ecological network to symbolize the spread of disease, bodily decay, and alienation. The hybrid forms I create from industrial materials and natural elements reflect the tension between modern industrial society and the organic world. It’s an elegy for life in the midst of capitalist post-modernity and environmental decay.