Erica Zhan, an interdisciplinary artist and writer hailing from the southeastern hills of China, now lives and creates in Chicago. During her undergraduate studies in International Business and Communication Studies at the University of Nottingham Ningbo China, she sought to broaden her horizons by studying Art History, Criticism and Communication at Central Saint Martins. In 2023, she earned her Master’s degree in Visual and Critical Studies from the School of the Art Institute of Chicago. These diverse academic and life experiences enable her to seamlessly navigate between performance, video, and experimental writing, addressing the complexities of human emotions and existence in the context of late capitalism.
Zhan’s artistic practice is deeply rooted in the contradictions and tensions of contemporary life. From the pervasive nature of consumerism to the way festival capitalism shapes collective emotions, and the fragility of individuals within competitive narratives, she captures the dynamics of society with keen artistic sensitivity. Her work weaves together humor, melancholy, sentimentality, play, and poetry into a unique language of artistic expression. In the 2024 Q4 exhibition at 4C Gallery, her piece My Prescription Is A Long Confession continues this exploration, offering a profound reflection on the intricate relationship between mental health and consumerism while shedding light on the fragility and imbalance of modern life.
In My Prescription Is A Long Confession, Zhan employs a 5-minute-53-second dual-channel video, combining sound and body language to delve into the entanglement of psychotherapy and consumerism. Using “gua sha,” a traditional Chinese medical practice, as a metaphor, she examines humanity’s attempt to cleanse mental burdens through “academicized” therapies—a pursuit that may paradoxically become an act of self-indulgence or even self-destruction. The work incisively critiques how social media simplifies mental health issues into fragmented, trendy content, driving the commodification of therapeutic services and further eroding genuine psychological care.
Zhan perceptively observes how contemporary discussions of mental health often foster a culture of conformity. The widespread use of “Quick-fix” therapy ads and an overload of professional terminology on social media create a standardized identity shaped by diagnostic labels. Individuals frequently adopt these labels unconsciously, relying on popular trends or social media recommendations for healing rather than addressing their unique needs. This consumer-driven conformity reduces personal psychological needs to mere “collective consumption.”
Through repetitive language and actions, as well as video game sound effects that contrast sharply with the gravity of her themes, this work generates a sense of gamified nihilism. Endless jargon, the ritualistic rubbing of her body, and the act of taking medication serve as metaphors for passive compliance with collective societal narratives. This narrative technique not only challenges viewers’ preconceived notions of the relationship between mental health and consumerism but also uses strong visual and auditory impact to pose a profound question: how can individuals seek genuine psychological fulfillment amid the whirlpool of consumerism?
Zhan’s work has been exhibited at notable venues, including the International Museum of Surgical Science, ACRE Projects Gallery, and the Gene Siskel Film Center, Comfort Station, No Nation Art Lab and other locations. As a writer, her critical essays and literary works have appeared in publications like The Art Newspaper China (rebranded as The Art Journal in 2024). Beyond exhibitions, Zhan engages deeply in artistic exploration through residencies, including programs at the Ox-bow School of Art Longform Residency and GlogauAIR On-line Residency in Berlin.
Zhan’s artistic practice is not only a critique of contemporary social issues but also a poetic act of resistance and reflection. Her work addresses specific societal phenomena with precision, transforming complex emotions, social conflicts, and cultural dynamics into tangible artistic forms. By doing so, she invites viewers to reevaluate overlooked aspects of daily life and the freedoms and vulnerabilities increasingly commodified within the narratives of capitalism.
