Born in Beijing, 1965, Jiang Jie still lives and works there. Currently she is a professor of Sculpture at the Sculpture Department of Central Academy of Fine Arts in Beijing, from which she graduated in 1991. Her works are usually microscopic and psychological, even the large-scale sculptures or installations are derived from her highly sensitive and subtle observation of the fragility and perishability of life. It is an important feature of Jiang’s works that she translates her own experience into the discourse of contemporary art. In other words, her works are extremely personal. From a unique personal or a female perspective, she penetrates into the more secret places in society and at the same time touches the public deeply. Jiang's sculptures have always contained this kind of delicate, sensitive and powerful inspiration. She utilizes simple and smooth sculpture lines to construct a complex and rich inner poetic imagination space. While looking at the world from a female perspective, she is able to transcend gender and refers directly to the fragility and helplessness, contradictions and tensions of life.

Recent solo exhibitions include: “A Moment So Fleeting” (He Art Museum, Wuhan, 2023), “More Than A Ton and A Half” (Si Shang Art Museum, Beijing, 2015 / Pujiang Overseas Chinese City, Shanghai, 2014), “March Forward! March Forward!” (Pin Gallery, Beijing, 2012), “Pink Utopia” (Fantasia Art Museum, Shenzhen, 2010 / Beyond Art Space, Beijing, 2010), “Jiang Jie” (Toronto Sculpture Garden, Toronto, 2003). Group exhibitions include: 2023 Chengdu Biennale “Time Gravity” (Chengdu Art Museum, 2023), The First Beijing Art Biennale (Beijing, 2022), “Participating Sculptures-Memories from the OCAT Biennale” (OCAT, Shenzhen, 2022), “Revelation: You and Me-Invitational Exhibition of Contemporary Chinese Artists born in the 1960s” (Shenyang, 2021), “Nine-Tiered Pagoda: Spatial and Visual Magic ⑧: Scene of Feelings-Jiang Jie, Peng Wei, Yin Xiuzhen” (Pingshan Art Museum, Shenzhen, 2021), “40×40 Art History Shaped by 40 Artists” (Powerlong Museum, 2018) and others.