View To Scale
View In Room
View To Scale
View In Room
Mirror, found object 镜子，旧物
Dimensions: 25.4cm (H) x 30cm (W) x 2cm (D) / 10" (H) x 11.8" (W) x 0.8" (D)
Note: Actual colours may vary due to photography & computer settings.
Meng Du collected vintage frames and incises the images of old furnitures on the mirrors. Rising from the old chairs, suitcases, and dressing tables, the cloud shapes seem to be the souls that inhabit in them. Tsukumogami, in Japanese culture, refers to the belief that objects, which are neglected for more than a hundred years, would absorb the essence of the earth, accumulate their resentment for the neglect or perceive the Buddhist teachings and gain their own souls to transform into ghosts. Yukio Mishima cites the tale of Tsukumogami in his novel The Temple of the Golden Pavilion. He recounts that a pile of objects were abandoned by their owner at the beginning of spring and they turned into ghosts and spirits. Meng Du recollected these discarded objects and photo frames, and depicted the images on the mirrors to redefine these old objects and rediscover their meanings as well as values.
Meng Du: The Climb, The Fall, Fou Gallery, New York, 25 June–7 August, 2016. (Brochure)
Meng Du: Remembrance, Rochester Institute of Technology NTID Gallery, Rochester, New York, May 3–17, 2013
Meng Du: The Climb, The Fall (exhibition brochure). Text by Michael Rogers. New York: Fou Gallery, 2016.
Melissa, Chapman. “Meng Du.” The Spoiler's Hand, Issue 12, September 2016. http://www.thespoilershand.com/mengdu
"Mengdu was awarded Honorable Mention at the International Exhibition of Glass Kanazawa 2016." Art China, 21 November 2016. http://art.china.cn/zixun/2016-11/21/content_9171321.htm?from=groupmessage&isappinstalled=0
Feng, Yuanya. "The Climb, The Fall: Revealing the Time Through Glass." Art China, 25 October 2016. http://art.china.cn/huihua/2016-10/25/content_9109180.htm?from=groupmessage&isappinstalled=0
Dong, Fangdong. "An Interview Note: She Blows Glass in Rochester." Wanfenyi, 18 June 2016. http://www.wtoutiao.com/p/1f5Y15J.html
Du, Meng. “Artist Meng Du: A Witch Who Tells Stories with Glass.” Interview with Su Muzhe. ZaoWuji, May 2016.
Liao, Hansi. "Meng Du: Nostalgia Finds Permanence in Glass.” Beyond Chinatown, 29 July 2016. http://www.beyondchinatown.com/2016/07/29/meng-du-nostalgia-finds-permanence-in-glass/
Wang, Sue. "New York Based Artist Meng Du’s Solo Exhibition “The Climb, The Fall” to be Presented at Fou Gallery" (exhibition preview). CAFA Art Info, 20 June 2016, illustrated.
"Meng Du: The Climb, The Fall." Art China, 17 June 2016.
Cordaro, Cordell. “Glass Tiger-- Meng Du.” Art House Press, June 2015.
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Based in: Beijing and Nanxun, Zhejiang Province
Graduated from the Graphic Design program of Central Academy of Fine Arts, Beijing (B.F.A.) in 2008 and the Digital Art program at the department of Glass Program of Rochester Institute of Technology (M.F.A.) in 2013. Currently, she is living and working in Nanxun, Zhejiang Province and Beijing, and has been teaching as the Adjunct Faculty at the Central Academy of Fine Arts since 2016. Her work has continued to exhibit in China, Europe, and in the United States. Her recent exhibitions include: Meng Du: The Room, Shanghai Museum of Glass, Shanghai (2018); The International Exhibition of Glass Kanazawa at Shiinoki Cultural Complex, Ishikawa Prefecture, Japan (2016); Flow Grow: 2015 Qingdao Contemporary Glass Art Exhibition at Qingdao (2015) and Design Shanghai 2013 City of Craft and Design at Power Station of Art, Shanghai (2013). In June 2016, she had her first solo exhibition in New York: Meng Du: The Climb, The Fall at Fou Gallery, New York (2016). In 2016, she won the The Honorable Mention for The International Exhibition of Glass Kanazawa.
Meng Du is interested in preserving memories and keeping a record of them so they do not fade over time. With a natural instinct to extract meaning from narrative, she also wants to show memories in decay, as a way of memorializing them and showing the process of their slow disappearance from our consciousness. She incorporates the drawings and found objects, which come from her personal life experience into the surface treatment and imaging techniques of glass. To represent the nostalgic feeling and memories of certain times and places that she does not want to let go of.
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