Born in Wuhan, 1989, Han Mengyun currently lives and works in London. She is a visual artist, comparatist, multilingual writer and a mother. Han received her BA in Studio Art from Bard College and had pursued the study of Sanskrit at various institutions such as Kyoto University before she completed her MFA at the University of Oxford with a research focusing on Classical Indology and Indian aesthetic theories. Her practice addresses the decolonization of the phenomena of Eurasian transcultural hybridizations that occurred across vast landscapes of time and space from the dominative mediation of the Western conceptual gaze. The broad focus of her research covers interdisciplinary manifestations of cultural dialogue and polyvocal aesthetic conversation—from religion, philosophy, and mythologies to trade, vernacular craftsmanship, and bookmaking. Recently, she has been working on Indian and Persian manuscript traditions and woodblock printing in China and Japan. Her work raises questions about the potentiality of interfaith, interethnic, and multilingual pan-Asianism.

Recent major solo exhibitions include: “Night” (ISA GALLERY, Shanghai, 2022), “The Glass Bead Game” (ShanghART Gallery, Art Basel, Basel, Switzerland, 2022), “Splinters of Jade” (A Thousand Plateaus Art Space, Chengdu, 2019), “Garden of Rasa” (The Ertegun House, Oxford, 2019), “Vimala” (Kashyapa Gallery, Chengdu, 2014), “In Between Islands” (Today Art Museum, Beijing, 2013). Her works were also featured at many important institutions, including Shanghai UCCA Edge (2013); SongEun Art and Cultural Foundation, Seoul (2023); Power Station of Art, Shanghai (2021); Saudi Arabia Diriyah Biennale (2021); Shenzhen Art Museum (2015); Guan Shanyue ART MUSEUM (2012). She was nominated the Emery Award in 2018, and won the Christina R. Tarsell Studio Arts Award in 2011.