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Space ++
  1. House of Day, House of Night
  2. Everyday Universe 
  3. Weather Forecast
  4. Contellation
  5. Fictional Landscape
  6. Giant’s Toe
  7. Secret Sounds

A Black Hole*

Time ++


  1. Chapel Time
  2. Food Time
  3. Naxos Time
  4. Cuckoo Clock
  5. Timefinder
  6. Nadel Time
  7. Memory Time    
 


Info


Qi Baiting (亓百婷) is a Chinese artist currently based in London, focusing on sculpture, installation and painting. Her practice constructs speculative worlds where miniature, domestic, geological and celestial elements coexist, mapping time and space through a surreal cosmology shaped by stargazing. Living near forests and mountains has deepened her connection to natural philosophy, influencing her engagement with landscape and the spiritual dimensions of art.

Her practice explores planetary time, material memory, and nonlinear histories. Her work often develops through interdisciplinary collaborations spanning art, science, and cultural research. She holds master's degrees from the University of Oxford and the Royal College of Art, and a BA from Renmin University of China. She was also featured in Sculpture magazine’s Artist Independent Column (Vol. 28, Issue 4). Her works have been presented internationally at Tate Modern (London), the Royal College of Art (London), the Arsenale (Venice), University of Oxford (Oxford), the Fitzwilliam Museum (Cambridge), Hive Center Contemporary Art (Beijing), and the Phoenix Center (Beijing).

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1.  Chapel Time  (House of Day, House of Night) 



I told Marta that each of us has two homes – one actual home with a fxed location in time and space, and a
second that is infnite, with no address and no chance of being immortalised in architectural plans – and that we
live in both of them simultaneously.  

- Olga Tokarczuk, House of Day, House of Night



In House of Day, House of Night, Qi Baiting presents a group of new sculptures, paintings, film and sound works developed since 2025. The installation is inspired by numerous fea markets across villages in the UK; for the artist, the circulation of objects is itself an interstellar journey. This time, the artist living in two homes at once offers a way into the installation, which holds together the material and the immeasurable: the located and the unplaced, the lived and the imagined. An intensifed interiority and exteriority emerges, skewing the time and space relations of the everyday life world and opening onto lived historical time,while the irde contextualisation allows other meanings to surface, as though they too were inhabiting more than one home at once.

This condition of plurality recalls Ursula K. Le The Carrier Bag Theory of Fiction, in which meaning is carried less by heroic progression than by forms of holding that allow disparate lives, minor experiences and uneven temporalities to coexist without being forced into a single line of takes shape as a theatrical staging that re-chronographs time and space, holding open a feld in which fragments of experience, memory and relation may remain in suspension alongside one another. Within the Chapel at Brompton Cemetery, this gesture resonates with larger questions of cosmology, time travel and a constellation of being, where material culture and spiritual culture remain closely entangled. Nostalgia here becomes less a longing for the past than a way of holding time through mundane objects at a micro scale, seeking hidden and often invisible conduits between human experience and the order of the universe.

This also introduces another question: what continues to exert a force after the event itself has passed? What allows the past to return to thought, as something approached through fssures, delays and partial survivals? The event leaves behind a dispersed material feld of residues, objects and traces that have been severed from their original coordinates while still charged by them. It is often through these displaced survivals, rather than through the event in its immediacy, that the past becomes available to refection. Like a beach after the tide has withdrawn, what comes into view is a scattered expanse in which shells, debris, rubbish, treasure and the vestiges of living things lie side by side, no longer held within their previous order and not yet settled into a new one. From within that disturbed arrangement, another order slowly begins to emerge through the acts of attention by which we recognise, interpret and care for what persists.

- Catherine Li


Publication: https://freight.cargo.site/m/D3149621856476832956341071089987/House-of-Day--House-of-Night_Publication.pdf