Q&A with Selina Xu

Briefly describe your thesis project. What themes are you exploring, and in what mediums/with what materials?
My thesis centers on a compressed classroom scene presented at a small scale, enclosed within a structure resembling a chicken coop. The work consists of multiple wax figures seated at desks, each initially distinct in posture and appearance, but gradually softening, deforming, and becoming more alike under the continuous heat of a lamp positioned above. The heating light creates a warm, classroom-like atmosphere, while at the same time slowly eroding and undoing the scene. Through this process, both gentle and destructive, I explore the relationship between education, order, and individuality, and how certain parts of the self are quietly lost in the process of being shaped. The work is made primarily with wax and casting, and the small scale encourages close viewing, allowing time and change to become more perceptible.

What do you hope someone feels when they experience your work?
I hope viewers initially feel a sense of familiarity and calm, but as they move closer and begin to carefully read the details, they gradually become aware of a transformation that has already taken place, along with a subtle sense of unease. I also hope the work prompts them to reflect on whether, in the process of growing and being shaped, they may have quietly lost parts of themselves.

Are there any questions you hope to answer by creating this project?
In this project, I am interested in questions that are not immediately visible: How does change become perceptible? At what point, and through what mechanisms, do individual differences begin to fade? And can structures that appear gentle or even protective also participate in this process of erasure? Rather than offering clear answers, I aim to create a familiar yet gradually destabilizing scene where these questions emerge through the act of looking.

How have you evolved as an artist over the years?
Over the years, my practice has shifted from primarily making small-scale jewelry objects to focusing more on sculpture, while still maintaining a strong attention to detail and intimacy. Rather than treating each work as a single object, I’ve become more interested in constructing situations within sculpture, where the work functions as a scene that can be observed and interpreted. At the same time, I’ve begun to incorporate time and transformation into my work, allowing materials themselves to participate in the unfolding of the piece rather than simply serving as form.

Describe what it’s been like to make work alongside your cohort.
For me, this has been a very new experience. Everyone in the program works with different media and materials, and through everyday conversations, we’re constantly learning from one another and finding new points of inspiration in each other’s work. Our studios are also located close together, so we work alongside each other like neighbors, and the space is often lively. This shared environment makes the process feel much less isolating and instead very relaxed and enjoyable.