Wei Zhang (b. 1991, China) currently lives in Glasgow

Zhang holds a Masters degree in Filmmaking and Media Arts at the University of Glasgow, and an MFA from the Glasgow School of Art. .

Nanotechnology, Biotechnology, Information Technology, and Cognitive Science (NBIC) have caught broad attention and developed swiftly in decades. However, these human enhancement technologies cannot dissolve the criticism and concerns of bio-conservatists for their dehumanizing features through trans-humanism (e.g., “morphological freedom”); the technologies cannot build up convincing human enhancement ethics to lead the public walking confidently to the future.

Zhang tries to intervene in the debate by Zhang’s films, performances, sculptures, and installations. Zhang researches posthuman monster-hood, Otherness, plasticity, queerness, hybridity, and its criticism to anthropocentrism; Zhang gropes the boundary of human, non-human, and trans-human to lead to a rethink towards the relationship between human beings and advanced technologies.

A few anthropomorphic and abstract sculptures Zhang did through portrait future humans. In Zhang's escapist fantasy, a daydream, these monstrous and surreal figures, who modify their bodies through NBIC (Nanotechnology, Biotechnology, Information Technology, and Cognitive Science) and live in between dystopia and utopia, embody Zhang's horror from immanent reality.

Zhang's sculptures start with found objects. The physical properties of these materials, including tactile, forms, textures, colours, and scars, Zhang cares for and understands interestedly. The plasticity of the found objects particularly inspire Zhang by thinking of "change," "transformation," and "metamorphosis."