They Call Me Witch
Artist & Works
Xinqiao Fu (Jojo)


My practice centers on bodily scars, unstable boundaries, and existential anxiety. I paint “monster” fragments—skin, hair, and visceral forms—kept between emergence and collapse, resisting stable names and categories. Through layered oil textures and continual reworking, the images remain ambiguous, fluid, and unfinished. This becomes a way to approach the unspeakable: when the body’s border loosens, our relation to the world trembles. My monsters are not about fear, but about closeness to what can’t be easily said—forms that hold tension, endure ambiguity, and invite viewers to sense instability as a living condition.


website:https://1292313957.wixsite.com/my-site-6
ins: @xinqiao_16
小红书：changgu16




Tear (2025)
Oil on silk, 40x40cm

This painting originated from my depiction of an injured face at first.
I imagine a person with torn eyes and festering cheek wounds, attempting to capture that fragile and painful state on the canvas. As I delved deeper into painting, colors and forms kept flowing unconsciously. Gradually, I discovered that the forms emerging in the picture increasingly resembled the reproductive organs of a woman.
Facing this change, I took the opportunity to develop the image in this direction
Wounds and organs are intertwined in this process: it is both the rupture of the body and the starting point of life.
In the picture, the soft texture and the raw tones interweave, revealing both fragility and pain, as well as a kind of primitive and chaotic vitality.
This work records the process of an image's self-growth and self-evolution unconsciously.
It stems both from the gaze at the injured body and the silent exploration of life, vulnerability and the instinct of existence.

Poetic organs (2025)
Oil on silk, 90x90cm


This painting originates from my imagination and exploration of the inner world of the body. It is not a depiction of anatomy, but a poetic reflection on bodily perception. Through the act of painting, I attempt to “touch” the body from within—to sense the boundaries between myself and the world.
I am drawn to the image of the skin. For me, it is both protection and isolation—a fragile boundary that defines inside and outside, self and other. In my work, however, this boundary becomes loose, fractured, and dissolving. The colors and forms flow into one another, suggesting both growth and decay.
I try to capture a state that hovers between life and death, wholeness and fragmentation. The body is no longer a stable container but a vessel of emotion and memory. The blurred forms resemble both tissues and clouds, as if the interior of the body is breathing, aching, or regenerating.
Poetic Organ is a re-imagination of the body and a form of self-gaze. It asks: when the boundaries of the body collapse, how might our relationship with the world be redefined?




Wild God (2024)


acrylic on linen, 130x130cm


This is my first drawing this semester about my current research direction. This painting is based on an abandoned Madonna, and I draw on the Madonna to some extent in the form of the main object of the painting. Then they fill it with torn flesh and twisted organs, as if they were tearing apart the skin to expose its internal structure. In many places I deliberately added some feminine structure and tried to create a sticky texture.






Tangled mind (2025)


oil on linen, 142x120cm


This painting continues my exploration of the inner body, but shifts focus to the hole—as both wound and passage. In my work, holes represent the rupture and extension of bodily boundaries, revealing the permeability between self and the external world.
I see the body as a landscape: undulating, collapsing, and in constant motion. Skin and tissue are not mere surfaces but psychological terrains, carrying traces of emotion, memory, and existence. The forms in the painting hover between organ and mountain, flesh and terrain, suggesting that the division between body and nature is itself unstable.
For me, painting these hollow forms is a way to reflect on vulnerability and permeability. The body here is no longer a sealed entity but an open, breathing, and ever-changing field—one that connects the intimate interior with the vastness of the world.