Traces: ‘Free-assemblage making’
as a method to touch self-narrative
The research by practice combines psychology and psychoanalysis, invoking the framework of self-continuity and the concept of self-narrative.
A written and visual, sculptural practice of 'free-assemblage making,' explores the materiality of traces as elements that speak of the fragmentation and discontinuity of cultural and environmental displacement and dislocation.
Key writers and makers drawn upon include Sedikides with self-continuity, Steyerl with materiality, Lic Rodrigo B with Lacon's theory, Tracey Emin with feminist installations and Hew Locke with found objects sculptures.
The research explores how might we use 'free-assemblage making' to represent as well as analyse psychoanalytically, poetically and visually the ideas of self- continuity and self narrative, and the paradoxes they hold.
Free-assemblage-making allows artists to decompose and reconstruct original objects subconsciously in any dimension, free from the structures and considerations of art practice that already have. After the process of choosing, placing, and making, it goes to use autobiographical reasoning afterward to analyze the choices they made in the process. By matching previous emotions or stories with the outcomes from the making process, the structure of the self-narrative will be touched, and old memories held in objects raised.
Be touched
working with objects from my past, free assemblage making in physical world, and touching self-narrative with making and writing
“I'm sitting in my house at a table by the window. Despite the large window, most of the time, day or night, the sun does not shine into my room. As I sit here alone, I am surrounded by warm yellow light, enveloped in it, and my vision is warm, even though my body doesn't feel the warmth..
There was no sound in all directions and I could hear myself breathing. My breath connected with them. Then I felt them with me, quickly forming a larger net that connected me to others and, by extension, to everyone in the world. I didn't know them, I'd never met them.…I sit alone in the house, and I am not alone…”
'I am attempting some kind of rescue operation, trying to restore things to their former integrity and former status, to bring myself back to the space of the past. In that space, I don't hear the ghastly noises of my family, and I don't have to deal with all the disturbing emotions I've encountered out there and in men. I digested and healed on my own, and I was safe with myself.
Those needs of yesteryear: unconditional love, the desire for sex and ultimately the intimate space they constitute, condense in this one object. Those confusions that I didn't understand in my youth become clear in the present day. At the beginning of my adolescence, when the self-narrative was budding, the process of objectification of the female self manifested itself in one decorative kitschy trinket. My stuffed animals that were my only companions during my restless and chaotic adolescence, silently providing unconditional listening, also appear in this one package.'
'Here, I finally understood, I finally saw.
In the vast gaps of my self-narrative were my constant attempts to distance myself from my environment, my attempts to desire the impotence of being desired. It was the restlessness I kept feeling in my mind at work, my need to be safe, safer. I needed stable connection, more stable connection. In a large void, all the attempts I made driven by this force created a disconnect with my overall emotions, which leads to a very sad speculation:
Maybe all the attempts I've made in the past have been useless.'
Be filled
working with urban traces and asemic writing, free assemblage making in graphical world, observing dating life to see whether the gap in self-narrative been filled
“Let me build you up, they said, I love you like crazy.
A crowd of strangers rushed to my side and lifted me high in the air. We will die, they said, and together we will forge a golden bronze statue that exists only for you. They leapt up in a frenzy, one on top of the other, gradually turning into a small mountain. Some cut off their own arms and stuck their bloodied arms into the mountain; others gouged out their eyes and filled the gaps in the mountain.
Slowly the hill took the shape of a snowman, and it swayed as if it would collapse at any moment.
I lay down on it and looked at the sky, which had never felt so blue.
Little by little, I melted into the hill. They became my blood. The new blood gave me strength and I ran to the top of the hill and turned into ashes under the sun.”
'I think of grasping, I always want to grasp. I always default to others in my favour and surround me only, I am the subject, they are the object. They become the substrate that fulfils my fragile dreams. Then the illusions break, one after the other, and the dreams gradually collapse, and I see behind the tattered curtains, remnants of a world in motion. In my dream world they are static, they are symbols, shapes, geometries of perception.
I use the language they give me to explain me, to explain my world.
When I don't need these symbols very much for construction, when the symbols I already have are enough to hold up the dream. At that point, new symbols will no longer intervene and the dream will be stable forever.'
'I’m in a in-between world, formed from the weird graphics and my words.
I’m walking in the city, but can’t see.
Where am I going, and what for.
I’m listening to the sound, from my tent, from my space, from my mind.
I’m in the tent, I’m with the tent, I am the tent.
Please be curious of what I am,
I don’t know what I am,
You say what I am.
Who are you?
It doesn’t matter anymore, I can’t see you anyways.'
Be broken
working with digital elements, textile and sound, free assemblage making in digital world, situation of the paradox that self-narrative held showing
'Stairway corridor is often a transitional space, a space that does not stay too long.
It makes it seem as if one is in a perpetual state of waiting, not knowing when there will be a turnaround and the end is uncertain.
It is like the childhood process of being lost or left behind in an unfamiliar environment waiting for one's parents to come back, when the strangers in one's eyes do not offer any help.
It triggers some adults' deep-seated empathy with the lack of love and care in their childhood, and their sense of dislocation towards the environment through the surreal way of creation.
This kind of empathy is no longer possible to reproduce in reality, but will bring a sense of peace of mind like reading a book inside a house on a rainy day.'
Relevant Works
Artworks ↗
Kisen (2025)
The Night I was on my Balcony (2025)
Parasite (2025)
Talking to him (2025)
EMANON (2025)
Reborn (2024)
The Body in Blue (2024)
Traces: ‘Free-assemblage making’ as a method to touch self-narrative (2024)
The Tent (2024)
Will U Remember me? (2024)
Won’t U Remember me? (2024)
Comet Tail (2024)
Null-Flux (2024)
Sleeping in the wood (2024)
No.0-PI (2023)
No.219 (2023)
No.-1 (2023)
No.9719 No.1202 No.2202 No.1520 (2023)
Unknown Utopia (2023)
A Punch on Tofu (2023)
CSI;’‘’‘’‘’‘;’;/;;‘’/;‘;(2023)
Profile (Sample)
Iris Lingyu Zhang (b. 1997, Beijing) is a multimedia artist and researcher working between London and Beijing. Her emotionally immersive works span digital and installation-based media, exploring feminist inquiries into the body, space, and desire. Drawing on psychology and philosophy, her practice negotiates identity, intimacy, and cultural memory through porous visual forms.
Iris holds a Master of Research from the Royal College of Art and pursuing her second Master’s degree in Fine Arts at Goldsmiths, University of London. She has exhibited internationally, with recent shows including international Biennale THE WRONG, Visions in the Nunnery 2025 at London Bow Art Gallery, Permeate in Vienna, and Instante in São Paulo. Her work has also been presented at IKLECTIK, Hundred Years Gallery, and The Handbag Factory, among others.
Email, Instagram ↗
Education
Master of Fine Art Sep 2026 -
Goldsmiths, University of London
Master of Research
Visual Communication Sep 2023 - Sep 2024
Royal College of Art
Exhibitions ↗
A Room for Unbecoming Women
The Handbag Factory, 3 Loughborough Street SE11 5TB
30.07.2026 - 03.08.2026
TABOO
Bradley House, 26 ST Albans LN, NW11 7QE
23.07.2026 - 13.08.2026
THE WRONG International Biennale Transient Info
Virtual Worldwide
01.11.2025 - 31.03.2026
Visions in the Nunnery 2025
Bow Road & Nunnery Gallery, 181-183 Bow Road E3 2SJ
04.10.2025 - 09.11.2025
The Green Grammar
art'otel London Hoxton, 1-3 Rivington Street, EC2A 3DT
27.06.2025 - 29.06.2025
Pieces of Me
Artworks East Gallery, 32-34 Osier Way, E10 5SB
06.06.2025 - 04.07.2025
Behind the Closed Doors – Safehouse, 137 Copeland Road SE15 3SN
31.05.2025 - 03.06.2025
Permeate – West/Alte WU, Augasse 2-6, 1090 Vienna, Austria
29.03.2025 - 03.04.2025
Secret Salon: Electric Ladyland
Caveside Cl, Old Hill, Chislehurst BR7 5NL
14.12.2024
Instante
Echos Studio, Rua Pelotas, 400 - Vila Mariana, Sao Paulo, Brazil
07.12.2024 - 20.12.2024
The Dark Side
Boomer Gallery, 150 Tooley Street, London SE1 2TU
08.11.2024 - 13.11.2024
MYSTICAL
Fox Yard Studio, 6 Old Fox Yard, Stowmarket IP14 1AB
25.10.2024 - 05.11.2024
Sound Field Folding
Hundred Years Gallery, 13 Pearson St, London E2 8JD
03.08.2024
MRes RCA 2024 Research Journeys
The Hanger Gallery, London SW11 4NL
26.07.2024 - 01.08.2024
Fragment for the Future; Movement
The Hanger Gallery, London SW11 4NL
29.04.2024 - 01.05.2024
Whispers of the Unseen: Sonic Alchemy
Iklectik, 20 Carlisle Lane, London SE1 7LG
13.12.2023
Press ↗
Ourculture Art&Photography: “In the syntax of pauses: Sensing the green grammar” 2025
FAD Magazine
“Behind the closed doors: Reconstructin the narrative of home in a crumbling house”. 2025
Divide Magazine issue 12 2024
Collect Art Magazine winter issue seasonal edition 2024
Reflections of the Past, Visions of Tomorrow 2024
Artistcloseup Magazine issue 25 2024
Artistcloseup Blog individual interview 2024