b.Florence, Italy
Lives and works between London and Florence



    SOLO EXHIBITION
   
    2022   Aground, 4cose, London, UK
    2021   Becoming a Crane, Daisy’s Room Gallery, London, UK

    GROUP EXHIBITIONS
   
    2022   Fertile Soil, V.O. Curations Project Space, London, UK
    2022   you can’t discourse without disco, Gallery Nova, Zagreb, Croatia
    2021   de nos jours, Osnova Gallery Off-site, London, UK
    2021   Three Degrees of Seperation, Changing Room Gallery, London, UK
    2021   Might Arrive, Safehouse 1,London, UK
    2021   Walls All Around, Fusion Design Centre, Nottinghan, UK
    2020   Unearthed, Cyprus College of Art, Lemba, Cyprus
    2019   Twenty-Five Ponds, Off-site Group Show at Hampstead Heath, London, UK
    2019   Get To Know You Better, The Cock Tavern, London, UK
    2018   Young Modulus NW1, The Crypt Gallery, London, UK
    2018   Tate Exchange, Tate Modern, London, UK
   
    PERFORMANCES

    2019   Next Choreography Festival, Siobhan Davies Dance, London, UK
    2019   Commixture: Performance Night, The Koppel Project Central, London, UK  

    AWARDS & RESIDENCIES
   
    2022   WHW Akademija, Zagreb, Croatia
    2021   Sid Motion Gallery Prize (shortlist), London, UK
    2020   Grampus Heritage PEATS Program , Cyprus College of Art, Lemba, Cyprus
    2019   Silver Arts Award

    EDUCATION AND QUALIFICATIONS

    2017-2021   BA Fine Art, Central Saint Martins         
    2018-2019   Next Choreography, Siobhan Davies Dance
    2016-2017   Foundation Diploma in Art and Design, Central Saint Martins





Ruoru Mou’s most recent Iines of enquiry concerns the complexity of labour and trade marked by her own experiences with migration, working through and with the idea of displacement while paying heed to the cultural identities of Chinese diaspora communities in Florence, Italy. Her practice spans sculpture, installation, performance and moving-image. Advocating for different modes of play, the act of making becomes a process of recollection that maps the transnational movement of both people and objects.

Her works often slip between sculpture, craft and childhood games such as origami and modelling flying mechanisms. Narratives are constructed in the emulation of specific gestural language — calligraphic practice, paper folding, or the motion of flight. Often times the objects undergo a constant state of ‘shape-shifting’,  which overtime creates a causal history of material and labour, and are caught in their process of ‘becoming’.