Mengmeng Luo’s work stands at the intersection of cinema, sculpture, and architecture, crafting narratives that unfold in physical space as much as they do on screen. With a background in journalism and filmmaking, Luo’s practice interrogates the relationship between moving images and spatial experience, breaking free from conventional storytelling. Her installations immerse audiences in multi-layered environments, where time is fluid, perception is challenged, and participation is inevitable. As Luo continues to explore the ever-evolving dialogue between media, her work remains a testament to the radical potential of spatial storytelling. In this conversation, she delves into the intricacies of her creative process, her cinematic influences, and the philosophical underpinnings of her work.
Q: Can you tell us a bit about your background and your journey into the art world?
I initially studied Film and Television Production before pursuing Fine Art at Chelsea College of Art in London. My background in film led me to experiment with different mediums, and I gradually realized that moving images don’t have to be confined to film installations—they can also exist within the structured framework of white-cube spaces. This approach not only liberates commercial cinema but also challenges my own creative process. After graduation, I was drawn to East London's vibrant art scene, where I became a member of the SET Woolwich artist community and established my studio, formally beginning my career as an artist.
Q: Your work seamlessly integrates film, sculpture, and architecture to construct narratives that transcend time. How do you approach storytelling differently across these mediums, and what unique qualities does each bring to your practice?
I initially studied Film and Television Production before pursuing Fine Art at Chelsea College of Art in London. My background in film led me to experiment with different mediums, and I gradually realized that moving images don’t have to be confined to film installations—they can also exist within the structured framework of white-cube spaces. This approach not only liberates commercial cinema but also challenges my own creative process. After graduation, I was drawn to East London's vibrant art scene, where I became a member of the SET Woolwich artist community and established my studio, formally beginning my career as an artist.
Q: How has your experience as a journalist shaped your approach to visual storytelling, particularly in projects like Glitch in the Matrix?
Working as an on-location shooting director at a news agency made me highly attuned to stories that often go unnoticed. My first film, Glitch in the Matrix, reveals overlooked truths, reinterpreting forgotten collective memories in a surreal, speculative manner. I wanted to merge the rigor of journalism with the fictional possibilities of cinema, using industrial filmmaking techniques to construct an imagined future. Through this approach, I aim to evoke a sense of crisis and confusion in the audience, prompting them to reconsider their perception of reality.
Q: Your installation Moment transforms architectural space into a cinematic experience. How do you see space functioning as a narrative medium?
For me, space is not merely a backdrop for art—it is an active component of the narrative itself. Moment, a collaboration with artist Xinghao Liang, initially emerged as a conceptual response to an apocalyptic landscape. However, when we examined the museum’s structure, we decided to incorporate its existing architectural features into the work. By integrating the museum’s staircase, we blurred the distinction between the artwork and its environment. Audience members choose their own paths, moving through passageways until they arrive at a hidden cinema, where they become both observers and participants in the space. This approach disrupts traditional relationships between viewer and artwork, creating an interactive and reflective experience.
Q: And what role does the audience play in activating these narratives?
The audience is integral to my work. Their movement through the space doesn’t just shape their experience—it constructs the narrative itself. In Moment, for example, when viewers enter through the corridor and ultimately arrive in the cinema, they are not passive spectators; they are assembling meaning through their own journey. This interaction transforms them from observers into active participants.
Q: Your work often explores montage as a narrative device in film, but in Moment, montage extends into spatial design. How did you approach translating cinematic montage into a three-dimensional, experiential form?
In films, montage splices together different timeframes and spaces through editing, constructing an experience that surpasses reality. I apply this technique to spatial design, where each section of an exhibition functions like a cinematic shot. As audiences move through different areas, they sequence these "shots" according to their own path, creating a nonlinear, personalized narrative.
For example, in Instantaneous, the passageway leading to the cinema is structured like the opening of a science fiction film. We installed black noise that intensifies as the viewer moves through the space, simulating a nighttime atmosphere. Peering through holes in the walls, viewers become voyeurs, watching a hidden narrative unfold inside the cinema. Through this design, I construct an immersive, suspenseful experience where physical space functions as a cinematic timeline.
Q: You draw from philosophers and artists like Richard Wagner, Daniel Buren, and Ilya & Emilia Kabakov, who explore Gesamtkunstwerk (total artwork) and spatial storytelling. How does this idea of a ‘non-art’ experience influence your practice?
I have always been drawn to the concept of Gesamtkunstwerk because it allows for a dissolution of the boundaries between art and life. Ilya & Emilia Kabakov’s notion of total installation, where the audience is entirely immersed in the artwork, has greatly influenced my approach. I am interested in how spatial storytelling can extend beyond traditional exhibition spaces and become an extension of everyday experience. Daniel Buren’s ideas on site-specificity and how space dictates meaning have also shaped my thinking—his emphasis on context reminds me that art is not an isolated entity but something that interacts with the environment. My goal is to create spaces that challenge passive viewing, compelling audiences to engage, navigate, and construct meaning on their own terms.
Q: Your project, Everything Except a Dog, brought critical pseudo-documentary films into public spaces, breaking away from traditional gallery settings. What’s the idea behind this work?
With Everything Except a Dog, I wanted to question the way information is received and manipulated in contemporary society. The project consists of pseudo-documentary films projected onto public facades, creating a surreal juxtaposition between the everyday world and a constructed narrative. The title plays with the idea of selective storytelling—what is included, what is omitted, and how that affects our perception of reality. By placing these works outside conventional exhibition settings, I aim to disrupt familiar spaces and provoke unexpected encounters. The street becomes a theater, and the audience, often encountering the work by chance, is thrust into an unfamiliar narrative framework. This uncertainty is central to my practice—I want people to feel unsettled, to question their surroundings, and to reconsider the narratives they consume daily.
Q: What challenges and opportunities arise when bringing art into public and nontraditional exhibition spaces?
Working in public spaces presents both logistical and conceptual challenges. There are technical difficulties—securing permits, dealing with unpredictable environmental factors, and ensuring that the work remains accessible without being intrusive. However, these challenges also create opportunities. The unpredictability of public space allows for spontaneous audience interactions that would never occur in a controlled gallery setting. The tension between the artwork and its surroundings often leads to unexpected interpretations, as viewers bring their own experiences and perspectives into the dialogue. In nontraditional spaces, art must compete with the noise of everyday life, which forces me to think critically about how to capture attention and sustain engagement. Ultimately, these settings allow for a more democratic form of art-making—one that is not confined to institutionalized spaces but is instead embedded in the fabric of society.
Q: You’ve exhibited across the world, from China and the UK to Italy and Spain. How do you see your work evolving in the coming years? Are there any new themes or mediums you’re excited to explore?
As my practice evolves, I am increasingly interested in how technology can alter spatial perception and narrative construction. I want to explore interactive and generative systems that respond to audience movement, creating spaces that feel alive and mutable. The intersection of AI and architecture intrigues me—how can machine learning shape immersive storytelling? How do algorithmic behaviors affect spatial design? These questions are guiding my current research. Additionally, I am drawn to collaborative projects that engage local communities, creating site-responsive works that reflect and transform their environments. Moving forward, I hope to continue challenging conventional exhibition formats, pushing the boundaries of how art is experienced in both physical and digital spaces.
About Mengmeng Luo
Luo Mengmeng (Momo) (b. 1999, Changsha, China) is a London-based visual artist and Chelsea College of Art graduate. Working across film, sculpture, and architecture, she constructs cinematic narratives that transcend time with surreal overtones. Drawing from her background in journalism and film directing, her work explores media messaging, collective memory, and societal behaviors during epochal shifts.
Her film Glitch in the Matrix won an award at the 2022 Athens International Film and Arts Festival and was exhibited at Rea Art Fair (Milan, 2023) and the 18th Arte Laguna Prize (Venice, 2024). In 2024, she joined Xu Liaoyuan MOMA’s residency in Chengdu, co-creating Moment, an architectural sculpture exploring environmental narratives. Her work is collected by the Simon de Foundation in Mexico.
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