Wanting Wang/ Still Life

Wanting Wang is a London-based artist and photographer whose work explores the intersections of identity, perception, and the evolving relationship between nature and technology. She holds a master’s degree in Television from the University of the Arts London, a background that informs her cinematic approach to image-making and visual storytelling.

Her artistic practice is deeply research-driven, drawing from philosophy, posthuman theory, and digital culture to examine the shifting boundaries between the organic and the artificial. She employs photography, installation, and digital media to investigate themes of hybridity, social constructs, and the fluid nature of selfhood. Often working at the threshold of the seen and unseen, she uses light, shadow, and composition to disrupt familiar narratives—transforming fleeting moments into compelling visual inquiries.

Blossoms of Decay

Beauty’s script is rearranged, where flowers yield, and flesh is changed.

Nature’s laws, we twist and bend—yet are we gods, or just pretend?

We shape, we scar, we bloom, we break—but are we not what nature makes?

Blossoms of Decay presents four decaying fruits adorned with vivid flowers, subverting conventional notions of beauty, freshness, and the natural life cycle. In our culture, decay is discarded and overlooked, yet in this work, what is typically neglected is reimagined as something striking and exquisite.

Flowers, traditionally symbols of life and beauty, no longer play the leading role. Instead, they are implanted into the decaying bodies of fruit, disrupting our established perceptions of the relationship between nature and humanity. This human intervention in nature is momentarily suspended, forcing us to confront an unsettling reality: as part of nature ourselves, we attempt to manipulate it. Yet, on a larger scale, are we not also shaped and governed by nature itself?

What appears to be a harmonious coexistence of bloom and decay is, in truth, a constructed aesthetic—an artificial reconfiguration of natural beauty, an act that is both creative and destructive. The work challenges us to reconsider our interactions with nature: are they born from admiration or domination? In this aesthetic ritual, the boundaries between organic transformation and human interference are blurred, reconfiguring the grammar of natural beauty.

In this framework, the fusion of decay and life is not one of opposition, but a redefinition of the boundaries between nature and the artificial. The work uses decay as a source of creativity and, through human aesthetic manipulation, questions whether such a reconstruction of beauty is sustainable, or an ecological ritual in itself—a moment in time suspended between creation and destruction.