From an early age, Wu Yue developed an extraordinary skill in glass engraving. Growing up in diverse geographical and cultural contexts, he absorbed the influences of each place, transforming them into an artistic language that blends tradition and innovation. From March 26 to June 8, some of her works will be featured in the exhibition Illusion City at Numero 51 in Milan, exploring new creative directions.

The Chinese artist expands the boundaries of glass engraving by incorporating different materials to create large anthropomorphic kites—symbols of the precariousness and mutability of human existence. His work also includes monumental sculptures enriched with travel photography, portraits, and images from his personal archive, weaving a dialogue between the private and collective dimensions.

A recurring theme in his work appears to be the figure of the giant—an imposing and solitary entity that embodies a sense of exclusion and resistance to social order. This is evident in works such as MUR and EVER. In the former, this presence dissolves into architecture, transforming into a barrier that simultaneously separates and protects. In the latter, the giant becomes a vessel of memories—a living archive where recollection and imagination merge.

With Illusion City, Wu Yue inaugurates a new phase in his artistic career, bringing to life a universe where glass becomes a metaphor for both the fragility and power of memory. The audience is invited to immerse themselves in this suspended dimension, exploring the delicate boundary between reality and illusion.

Read also: Yansu Wang and her Junk Journal