Jichi Zhang 张继弛 (b. 2001, Hohhot, China) is a London-based artist working with sculpture, installation and writing. He uses protective films, adhesive tapes and architectural coverings: materials made to receive wear so that something else remains intact. Their recognition as artworks unsettles their intended disposal and introduces decisions about what to retain.

Folding, tension, suspension and provisional attachment bring thin surfaces into relation with architecture, gravity and air. Zhang asks how much can change before an arrangement is understood as damaged, replaced or no longer present. These judgements concern both its material form and the labour and permissions through which it continues.

His current research develops selective continuity as a way of considering which properties and relations are carried forward, which become expendable, and who can decide. Preserving a work’s appearance does not necessarily preserve the terms of access or participation around it. Museum description and conservation offer points of comparison for an enquiry grounded in his own installations. Making support visible can leave authority unchanged; this also implicates the artist, whose instructions may invite interpretation while limiting what others can alter.

Zhang is completing an MA in Fine Art at the Slade School of Fine Art, UCL. He graduated from Central Saint Martins with First-Class Honours in Fine Art in 2025, studied in David Schutter’s class at Universität der Künste Berlin, and completed Imagining the Other, a Level 7 postgraduate module at City St George’s, University of London.

Recent solo exhibitions include by (2026), L Gallery, Hangzhou; if (2025), Gallery 456, Chinese American Arts Council, New York; and am (2025), Absent Gallery, Guangzhou. Support Room (2026) developed through a two-month residency funded by Absent Gallery. His work has also been presented at Cubitt Gallery, Saatchi Gallery, Three Zeros Contemporary Art Centre and the Handbag Factory.

Alongside, he reads and rides.