Wang Xue Sophia (b. 1998, Qinghai, China) is an artist working across documentary photography, moving image, performance, and writing. With a background in journalism and fine arts, her practice is rooted in her borderland upbringing and continuously investigates the making of otherness, migration, and cultural hybridity. Her current research revolves around the notion of “irregular rhythms”—examining how public squares function as invisible choreographers of the body, and how the body, in turn, seeks improvisation and freedom within regulated rhythms.
Her ongoing project Please Dance Happily and Freely extends from this inquiry, beginning with the experience of dancing across distances with her mother and tracing the bodily narratives behind dance naming, technique, and rhythm. Through video theatre and live performance, Wang invites audiences into irregular beats and gestures, replacing verbal narration with embodied empathy.
By treating singing and dancing as tools of research and narration, she approaches voice and body as “corporeal archives,” revisiting the fractures and regenerations of embodied memory. Her work explores the evolving relations between intergenerational memory, regional tradition, and identity—constantly asking: Whose presence is recorded? Whose silence becomes visible?
Wang’s practice weaves together photography, moving image, and archival research to re-examine and re-narrate obscured collective and personal histories. Her photobook Henna traces the everyday worlds of Muslim women in Qinghai and Guangzhou, revealing the layered complexity and fluid fluidity of cultural identity. The Xiaobei Passport, Letters from Guangzhou to Bamako, and Photo Survey of Africans: Visual Investigations on African Diasporas in Guangzhou document the suspension of global mobility during the pandemic through photojournalism, found images, and participatory photography workshops with children from African diasporic communities.The Sea of Stars draws upon family archives and ethnic folklore along the Yellow River in Qinghai to construct narratives that move beyond the binary of “periphery and center.” The Comb Stone revisits early Chinese feminist histories, focusing on the othering of self-combed women and their pursuit of bodily and social autonomy.
Her works have been exhibited at BAK Basecamp (Utrecht 2025), Guangdong Times Museum (Guangzhou 2022), Shanghai Being Art Museum, Jimei x Arles International Photo Festival (Xiamen 2023), and the Singapore International Photography Festival (2024), among others. In 2025, her projects will be presented at the Asia Triennial Manchester and Africa Foto Fair (Abidjan), and she will co-facilitate a workshop on “ Hunting the Sensibles” at the American Anthropological Association Annual Meeting. She is currently a recipient of the FOTODOK Lighthouse Talent 2025/26 in the Netherlands, continuing her long-term research on dance ethnography, social theatre, body memory, and migration.
In 2025, Wang co-founded Cactus Press with Jasper Yi Cao and Qiaoling Cai—an artist-led initiative dedicated to publishing practices that move beyond text, connecting print media with sound, moving image, exhibition-making, and embodied action.
王雪（1998，青海）是一位跨越纪实摄影、影像、表演与写作的艺术家。拥有新闻与纯艺术的理论背景，她的实践扎根于边疆成长的生命经验，持续探问“他者性”“迁徙”与“文化混融”的生成过程。
她目前的研究以“不规则节拍”为核心概念——探究“广场空间”如何成为身体的无形编舞者，以及身体如何在被规训的节拍中寻找即兴与自由。《欢乐地跳吧》是这一研究的延伸，以与母亲身处两地，在不同语境中持续跳舞的经历为起点，追索舞蹈的命名、身体技术与节奏背后的身体叙事。通过影像剧场与表演，她邀请观众进入不规则的节拍与身体动作，以“共感”代替“言说”。她将歌唱与舞蹈作为研究与叙事工具，以声音与身体作为“身体档案”，重访“身体记忆”的断裂与生成，呈现跨代记忆、地域传统与身份之间持续变动的关系——始终追问：谁的存在被记录？谁的沉默得以显现？
她的作品混合不同的媒介，重新观看和讲述了被遮蔽的集体与个人叙事。摄影书《海娜》以摄影书的方式记录了青海和广州的回族女性的世界，呈现文化身份的复杂性与流动性；《归去来——广漂非洲人影像调查》、《小北护照》与《巴马科：天秀来信》透过新闻摄影、现成品图像和儿童参与式摄影工作坊，记录疫情下全球化停摆对非裔“广漂”群体的影响；《星宿海》聚焦青海黄河沿岸民间故事与家庭档案，构建超越“边疆—中心”框架的叙事；《自梳》则聚焦中国女性主义早期历史中自梳女群体所遭遇的他者化话语。
她的作品曾展出于 BAK Basecamp（2025 乌特勒支）、广东时代美术馆（2022）、上海碧云美术馆（2023）、集美·阿尔勒国际摄影季（2023）及新加坡国际摄影节（2024）等机构与艺术节。2025 年，她的作品将参与曼彻斯特亚洲三年展与非洲摄影节（阿比让），并将在美国人类学学会年度会议中共同组织“感知人类学”工作坊。她目前入选荷兰 FOTODOK Lighthouse Talent 2025/26，持续深化关于舞蹈田野、社会剧场、身体记忆与迁徙的长期研究。
2025 年，她与曹祎、蔡俏凌共同发起 Cactus Press，致力于推动超越文本的出版实践，及与声音、影像、展览和身体性行动链接的可能性