For inquiries and collaborations, please shoot an email to contact[at]brubeyhu.com.
You can also find me on Instagram.
Bio
Brubey (Wanzhi) Hu (b. 1994, Xiamen, China) is an artist, graphic designer, and educator. Her work is a mediation on memory, migration, the mundane and domesticity as shaped through a transcultural feminist lens. Working across painting, installation, sculpture, and text, she employs strategies of subtraction and estrangement to capture fleeting moments that shape personal and collective histories.
Brubey’s work has been exhibited at Art Mur in Montreal; Field Projects, A Space Gallery and Flatiron Gallery in New York; Zalucky Contemporary, Art Museum at the University of Toronto, Cambridge Galleries, University of Waterloo Art Gallery, and Art Gallery of Mississauga, all in Ontario. She has participated in numerous artist residencies, including BAiR Emerging at Banff Centre for Arts and Creativity in Canada, and International Residency at NARS Foundation in New York, USA.
Originally born in Xiamen, China, Brubey moved to Vancouver, Canada for high school, and then to the United States for undergrad. Currently based in Tkaranto/Toronto, ON, she has worked as a sessional lecturer at the University of Toronto Scarborough and the University of Waterloo. She holds a BFA from the Maryland Institute College of Art, and an MFA from the University of Waterloo as a Social Science and Humanities Research Council (SSHRC) scholar, and is pursuing an MA in Gender and Feminist Studies at York University. She is also the co-director of Tangent Collective.
Brubey’s practice is generously supported by the following arts councils:
胡琬芝是一名生活在加拿大多伦多的艺术家、平面设计师和教育者。她2017年本科毕业于美国马里兰艺术学院，于2020年获得加拿大滑铁卢大学纯艺术硕士学位。她的作品通过跨文化女性主义视角对记忆、迁徙和家庭关系进行调解。她的作品将语言学、诗歌和建筑绘画的兴趣融为一体，试图阐述文化和个人身份是如何形成的。
琬芝的作品曾展出于蒙特利尔Art Mur，纽约Field Projects, A Space Gallery以及Flatiron Gallery；安大略省的Zalucky Contemporary, Art Museum at University of Toronto，University of Waterloo Art Gallery，Cambridge Galleries，Art Gallery of Missisauga。她曾参与多个艺术家驻地，包括加拿大班芙艺术中心新兴艺术家驻留，和纽约NARS基金会驻留。她的创作得到加拿大国家艺术基金会和安大略艺术基金会的支持。
胡琬芝1994年出生于福建厦门，后来移民至加拿大，并在温哥华读了高中。琬芝2017年毕业于美国马里兰艺术学院，并于2020年作为SSHRC学者获得了滑铁卢大学完成了艺术硕士学位。目前，她在约克大学攻读女性主义与性别研究硕士，并作为讲师任教于滑铁卢大学和多伦多大学。琬芝也是游牧艺术组织探针小组的联合总监。
Artist Statement
My practice is an entangled embodiment of the mundane, memory, and architectural space, shaped through a transcultural feminist lens. I see artmaking as a process of imperfect translation: converting lived encounters, emotional residues, and social phenomena into visual forms and words. Working across painting, installation, sculpture, and text, I employ strategies of subtraction and estrangement to capture fleeting moments that shape personal and collective histories.
Domestic space, often assumed to be private, restful, and stable, is a recurring site of inquiry in my work. Rather than treating it as a neutral backdrop, I approach the home as a political and affective terrain shaped by gendered labour, family kinship, ephemerality, compromise, and desire. My practice focuses on domesticity not as a fixed entity but as a complex configuration of care and material repetition. I explore its social and political weight by working with everyday domestic materials: cleaning supplies, kitchenware, and fragments of routine. These materials carry the traces of bodies and time, revealing ubiquitous systems of labour that sustain life yet remain invisible or devalued under patriarchal-capitalism.
As I move between places, I am drawn to what is left behind, such as used mugs, an opened bag of chips, a half-finished drink bottle, and so on. These fragments are deeply personal yet collectively familiar, evoking the transient, the intimate, and the habitual. Once translated onto a two-dimensional plane or embedded into sculptural form, they are released from their original function and open to new interpretations. I often find inspiration in fateful encounters and poetic residue—subtle, ordinary moments that leave traces and quietly shape how I gather and respond to materials. Through poetics with repetition and improvisation, I seek to illuminate the quiet rhythms of domestic life while yielding space for reflection, resistance, and reimagination.
我的艺术实践是平凡生活、记忆与建筑空间在跨文化女性主义视角下交织形成的具象化纠缠。我将艺术创作视为一种不完美的翻译过程：将亲身体验、情感余绪与社会现象转化为视觉形式与文字。我穿梭于绘画、装置、雕塑与文本之间，运用减法与陌生化的策略，捕捉那些塑造个人与集体历史的稍纵即逝的瞬间。
家庭空间——这个常被预设为私密、宁静且稳定的场所——是我作品中反复探索的主题场域。我拒绝将其视作中性背景，而是将家视为一个由性别化劳动、家庭亲缘、短暂性、妥协与欲望共同塑造的政治与情感交汇场域。我的实践聚焦于“家务事”本身，但并非将其视为固定实体，而是将其看作关怀与物质重复交织而成的复杂结构。我通过使用日常家居物料——清洁用品、厨房器皿、生活琐碎——来探索其社会与政治的分量。这些物料承载着身体与时间的痕迹，揭示了那些维系生命却又在父权资本主义体系下被隐匿或贬低的、无处不在的劳动系统。
在辗转于不同空间之时，我总被遗落之物所吸引：用过的马克杯、拆开的薯片袋、喝了一半的饮料瓶等等。这些碎片极具个人色彩却又为集体所熟悉，唤起转瞬即逝、亲密无间与习以为常之共鸣。一旦它们被转译到二维平面或嵌入雕塑形态，便从原有功能解脱，转而敞开新的诠释空间。我常在宿命般的相遇与诗意的残余中汲取灵感——那些微妙的瞬间留下的痕迹，悄然影响着我如何收集与回应材料。通过诗性与重复、即兴与预谋的交织，我试图照亮家庭生活中的微妙律动，同时为反思、抵抗与重新想象留出空间。
MFA Thesis: I Have No Home But Me*
*“I have no home but me” is a line borrowed from Anne Truitt’s Daybook.
