Tingyi Li is a UK-based visual artist and printmaker based in Glasgow. Her practice spans fine art printmaking (including stone lithography and woodcut), intuitive sculpture, and tactile wearable art. Guided by a process-led methodology, Li’s work engages deeply with non-anthropocentric perspectives, material resistance, and organic forms. Rather than adhering to rigid predetermined concepts, she allows accidental marks, natural textures, and physical interaction with raw materials to shape her visual narratives. Her wearable art pieces, developed alongside her printmaking, transform raw stones and wire into intimate sculptures that bridge body and object. Li regularly exhibits her prints and handcrafted wearable works across local art platforms and markets in Scotland, constantly exploring the quiet dynamic between Eastern psychodynamics, physical labor, and environmental decay.

See Tingyi’s work as part of Here’s One I Made Earlier, a group show featuring contemporary artists working in Glasgow. Brought together on the Master of Letters course at Glasgow School of Art, these artists share a commitment to thinking-through-making, exploring, and articulating their ideas visually and materially. Featuring sculpture, painting, printmaking, and more, this collection offers an insight into the breadth of art being made in Glasgow right now.

Hi Tingyi! Can you tell us how you arrived at the theme of your work?
My work stems from an exploration of non-anthropocentric perspectives and material resistance. The theme emerges organically from the quiet dialogue between organic forms and physical labor.

Can you walk us through your creative process?
My process is deeply intuitive. Printmaking starts with the physical interaction of ink and stone; my jewelry begins with the raw textures of bone, crystals, and wire, embracing accidents.

Which artists inspire you? Are there non-artistic influences such as literature or music that impact your work?
Visually, I am inspired by artists like Anselm Kiefer. Beyond art, I am heavily influenced by post-humanist philosophy, ecology, and atmospheric electronic music.

What emotions or reactions do you hope viewers experience when they see your artwork?
I hope to evoke a raw, tactile intimacy, reminding viewers that a living, untamed presence is far more powerful than industrial perfection.

Are there specific advantages or challenges associated with working in your chosen mediums? Have you experimented with other mediums or techniques?
The challenge lies in respecting material stubbornness (like stone resistance or wire tension). Yet this friction strips away the unnecessary, forcing an honest tactile engagement.

Can you elaborate on the significance or symbolism of the chosen title of your work?
They reflect transitional tension. In Between the Virtual captures the digital-physical threshold, while Raw Pulse echoes my core statement: “symmetry is a prison for the predictable.”

Find out more about Tingyi’s work on Instagram. Here’s One I Made Earlier runs at Six Foot Gallery until Thursday 19th November.