Jun Rui Lo
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Interview by Kristian Day
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Published in March 2025
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Jun Rui Lo (Ryan) (b. Hong Kong) is an artist and curator based between Leeds and Manchester. They make and curate with an interest in identity politics and the aesthetics of ambiguity. Rooted in their gender non-conformity and diasporic experience, Lo’s practice responds to the fluidity and rootlessness that arise from their refusal to be anchored to any fixed identity. Through their expanded-drawing and sculpture, Lo creates allegories from everyday made strange. They currently have a solo show, Ashes in Your Eyes, at Haarlem Artspace in Derbyshire.
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Ashes in Your Eyes, a solo exhibition by Jun Rui Lo, 2025 [installation view]. Haarlem Artspace, Wirksworth, Derbyshire. Photo by Will Slater. Hi Ryan, sorry about this but I have to start by asking you to give us a brief introduction to your practice:
As a non-binary individual from Hong Kong living and working in the United Kingdom, the interrogation of gender and cultural identities forms the foundation of my practice. I’m heavily influenced by queer theories, which advocate not only for gender and sexual non-conformity but also for freedom from normative tendencies, my practice responds to the fluidity and rootlessness that arise from my refusal to be anchored to any fixed identity. Regardless of their form, my works serve as visceral endeavours to give tangibility to those indescribable feelings evoked.
You graduated from Leeds less than a year ago but already have two solo shows - Ashes in Your Eyes with us at Haarlem Artspace in Derbyshire and A Nostalgia Akin to Love at the excellent Village in Leeds - and numerous group shows under your belt. How does it feel to be at the beginning stages of your career?
I think it’s exciting. Apparently, working as a practicing artist is never an easy path, especially amid the current cost of living crisis. Since moving to the UK and starting my BA, my goal has always been to become a full-time artist. Having the recent exhibitions after graduation, especially the solo shows at Village and Haarlem Artspace, has doubtlessly encouraged me to keep going and push my limits despite the realistic challenges.
Untitled (Almost Tomorrow), 2024
Graphite, acrylic, watercolour, coloured pencil on linen, 30 x 30 cm. Photo by Will Slater.You often mention the term ‘expanded-drawing’ when discussing your practice, what does that mean to you and what position does it hold in your practice?
Drawing in its broader sense, whether on paper, engraving on wood, or even creating sculptural forms—which I see as spatial drawing, is the core of my practice. Having been drawing since early childhood, I find it the most natural, spontaneous, and accessible way of expression that I always return to. Drawing is a language that I speak.
Untitled (If Only), 2025
Carved wood, wool kimono cardigan, 90 x 70 x 18 cm. Photos by Will Slater. Wooden objects, especially furniture, are often featured in your sculptural works. In the exhibition at Haarlem, you’ve included them in three pieces. Can you tell us more about them?
I’m inspired by notions of material culture and object biography, everyday objects—ranging from books and keys to shoes and chairs—play a vital role in my practice. Since the beginning of my BA, I have often visited flea markets, second-hand furniture shops, charity shops, and even skips to actively search for objects.
I am particularly drawn to used wooden furniture because of its material scars and fractured forms. When I see an object in front of me, I often begin imagining its past—what happened to it before it arrived here. What truly concerns me are the emotions and histories embedded within it. Through exploring, transforming, and juxtaposing them, I try to construct allegorical narratives and scenes rooted in the emotional connections between the objects and the humans that used them.
Untitled (Spirited Away), 2024
Cigarette, steamed rice, pewter
egg cup, polyester ribbon
19 x 16 x 15 cm. Photo by Will Slater.How does your queer and diasporic identity inform your practice?
Identity is at the core of my current practice. My queer and diasporic identity undoubtedly plays a significant role in my daily life in the UK, as you recognise that, in some ways, you are 'different' from the majority in this society and encounter experiences that happen uniquely to you and others who share this identity.
Rather than addressing this through a social practice approach, I prefer to respond to what has happened and how I have felt in a more ambiguous and subtle way with my drawings and sculptures. By starting from my personal story and perspective, I hope my work can ultimately touch on something universal and connect with people who have had similar experiences.
Untitled (O), 2025
Wooden coffee table, rice. Dimensions variable. Photo by Will Slater.What kind of experience do you want to create for your audience in this exhibition?
I always see an exhibition as a contemplative space for the audience. In an era of information excess and overstimulation, I hope that when visitors come to Haarlem Artspace, which is away from the city's hustle and bustle, they can take the time to look closely at the works and the space.
I really appreciate the architecture and the domestic atmosphere of Haarlem Artspace. We intentionally selected fewer, smaller works to create a better balance between the space and the pieces, aiming to establish an aesthetic rhythm rather than simply filling the room.
I spent a week in Wirksworth installing and creating site-specific works, which also played a significant role in shaping the exhibition. For example, we got the stone paving slabs for Untitled (Here) from the National Stone Centre, which is just a 5-minute drive from Haarlem Artspace. I also made Untitled (O) right there in the gallery space. Overall, I really hope the audience could feel the connection between the works, the space, and its surroundings.
Now that you’re free from academia is there anything you’d like to achieve career-wise or a dream project you’d like to work on in the next few years?
My current goal is to develop a professional and sustainable career as an artist. Over the next few years, I hope to spend more time in the studio, refining my practice and seeing where it might lead.
I’m also excited about the possibility of exhibiting and doing residencies internationally—maybe even in my hometown, Hong Kong. I haven’t been back in over four years, and this could be the perfect reason to return with a fresh perspective.
Untitled (Here), 2025
Wax, stone paving slabs, 100 x 100 x 15 cm. Photo by Will Slater.Can you tell us about any future projects you’re working on right now? I hear you may be doing something with Threshold in Leeds? I’m a big fan.
I’ve been preparing for a duo show at Threshold with Hang Zhang (@hangzhang.art), a great artist I’ve become close with over the past few years since we were both studying at the University of Leeds. The exhibition opens in late March. I’m currently working on a metal sculpture for the show, exploring new techniques like etching and welding, which I’m really enjoying.
More recently, I’ve also started planning my next independent curatorial project with my friend Audrey Lung (@kimkimjongun), an incredibly talented Taiwanese artist based in London. I’m hoping we can bring it to life by the end of the year.
Portrait of the artist. Photo by Will Slater.
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lojunrui.com
︎ @ryanmoyii_
kristianday.co.uk
︎ @kristiandaygallery
haarlemartspace.co.uk
︎ @haarlemartspace
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If you like this why not read our interview with Cherie Li.
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