Wang Sishun’s work examines “the boundless abyss in our limited bodies” through the reinterpretation and transformation of time and matter. He mainly focuses on the translation from one matter to another, from one form to another. In Necessary Labor Time (2008), coins were melted and cast into one large metal ingot before being shaved down to a needle. The residual dust was used to fill an hourglass. In his exhibition Uncertain Capital (2009-) exemplified his sentiment of the power in transformation. He manipulated the material’s physical properties and altered the original utility of an object. It represented the transmutation of an arbitrary value defined by the central bank (the coin) into one block of metal where the market value of the work as art has been added. Wang Sishun’s first exhibition in Paris, Truth at New Galerie in 2014, received the support of the John Dodelande Collection. The artist made a six-week journey from Beijing to Paris (a distance of 12,000 kilometers) in order to bring a flame that survived a devastating fire, a relic that Wang Sishun has turned into a work of art.
His solo exhibitions include 2016 Apocalypse, Long March Space, Beijing, China (2016); Truth, New Galerie, Paris, France (2015). Recent group exhibitions include: Free Realm – Beijing 798 – Guiyang Contemporary Art Exhibition, Guiyang 798 Art Center, Guiyang, China (2017); A Beautiful Disorder, Cass Sculpture Foundation, Goodwood, UK. (2016); On Curbstone Jewels and Cobblestones, Daimler Contemporary Berlin, Berlin (2016); Inventing Ritual, Kunsthaus Graz, Austria (2015); The 3rd Ural Industrial Biennial of Contemporary Art, Ekaterinburg, Russia (2015); Essential Matters, Borusan Contemporary, Istanbul, Turkey (2015); The BANK Show, Vive le Capital, BANK, Shanghai (2015); Harmonious Society – Asia Triennial Manchester 14, Centre for Chinese Contemporary Art, Manchester (2014); and Second CAFAM Biennale: The Invisible Hand: Curating as Gesture at the Central Academy of Fine Arts Museum, Beijing, (2014).