Sin Wai Kin is an artist using speculative fiction within performance, moving image, writing, and print to interrupt normative processes of desire, identification, and objectification. Sin uses drag as a practice of purposeful embodiment questioning the reification and ascription of ideal images within technologies of representation and systems of looking. Drawing from close personal encounters of looking and wanting, their work presents heavily constructed fantasy narratives on the often unsettling experience of the physical within the social body. Sin was shortlisted for the Turner Prize 2022. They currently have a solo exhibition at Fondazione Memmo, Rome, featuring their latest video work Dreaming the End (2023). Sin’s performances and works have been shown at international institutions including Centre d’Art Contemporain Genève, Geneva (2023); Tai Kwun Contemporary, Hong Kong (2022); Para Site, Hong Kong (2022); Channel, Somerset House, London (2022); ICA, Los Angeles (2022); The Guggenheim, New York (2022); The British Museum, London (2022); Shedhalle, Zurich (2021); “British Art Show 9” (2021); ICA, London (2020); Tank Museum, Shanghai (2020); MOCA, Toronto (2019); “MOMENTA biennale de l’image”, Montreal (2019); Hayward Gallery, London (2019); “Meetings on Art” in “The 58th Venice Biennale” (2019); Whitechapel Gallery, London (2019); “Do Disturb Festival” in Palais de Tokyo, Paris (2019); Serpentine Galleries, London (2019); Taipei Contemporary Art Center, Taipei (2018) and Tate Modern, London (2017). Sin currently lives and works in London.

Sin Wai Kin (fka Victoria Sin) was born in Toronto, Canada in 1991. They studied at Camberwell College of Arts, University of the Arts London and the Royal College of Art, London. Sin’s practice pivots around the use of speculative fiction within performance, moving image, writing and print, to question the idealised image and the collective gaze. Identifying as mixed race and non-binary, their work creates fantasy narratives, to interrupt normative processes around issues of desire, identification, and objectification. Sin’s use of performance and particularly drag began as a means of deconstructing and challenging misogyny and racism in and outside of the queer community.