Professor and PhD supervisor of China Academy of Art，Founder of Hangzhou Triennial of Fiber Art. She has started contemporary artistic creation since 1986 and her works are featured by adoption of cotton, hemp, Xuan paper, pulp and other fiber materials. Due to the creative framework based on the sense of modern art and her sensitivity and skills on materials, her artistic creation has become more purified and mature. Among the patterns of Chinese contemporary art, Shi Hui's works display unique visual features. She extends the traditional weaving into a construction of visual space and changes the weaving process into an experience process, so that it becomes a kind of image interpretation on "postmodern animatism" to reflect the cultural heritage of the Eastern spirit on the level of contemporary art. Some of her important exhibitions include: “The Third Shanghai Biennale, Living in Time – 29 Chinese Contemporary Artists Exhibition” (National Gallery of Berlin, 2001), “The First Guangzhou Triennial "Reinterpretation: Ten Years of Chinese Experimental Art" (Guangdong Art Museum, 2002), “Alors, la Chine? - Chinese Contemporary Art Exhibition” (Centre Pompidou, Paris, 2003) and “Our Future: Guy & Myriam Ullens Collection” (Beijing Ullens Center for Contemporary Art, 2008). She has also held her individual exhibitions at the HHLA Exhibition Center in Hamburg (2006), Germany and the Ludwig Museum in Koblenz, Germany (2013). She won the Martell Award for Extraordinary Artist in 2007 and the award of AAC the 8th Award of Art China for Sculpture Influence in 2014. She has published 20 collections of works, such as the Poetic Simplicity: Shi Hui’s Work and Shi Hui.

Since the late 1980s, Feng has devoted himself to curating, commenting, and editing contemporary Chinese art, paying attention to the marginal, alternative artists and groups, as well as the living state and artistic creation of the younger generation of artists, focusing on experimental and critical contemporary art. He has written, and contributed to numerous articles, theses and essays. He has curated many important exhibitions in China and abroad. including “Traces of Existence: 1998 Chinese Contemporary Art Study Exhibition” (Beijing), “Fuck Off 1 and Fuck Off 2”(Shanghai; Groninger Museum, Netherlands), “Reinterpretation: The First Guangzhou Triennial” (Guangdong Museum of Art), “Right Hand, Left Hand: A Sino-German Exhibition of Contemporary Art” (798 Art District, Beijing), “A Vista of Perspectives: The Sixth Shenzhen Contemporary Sculpture Exhibition” (OCT Contemporary Art Terminal, Shenzhen), “Surreptitious Substitutions: Post- Modern Methods in Chinese Contemporary Art” (OCAT Art and Design Gallery), “The Fourth Cross-Strait Four-Regions Artistic Exchange Project” (He Xiangning Art Museum; Taipei Fine Arts Museum; Osage Gallery Kwan Tong; and Macau Museum of Art), “CAFAM Future: Sub-Phenomena - Report on the State of Young Chinese Art” (CAFA Art Museum, Beijing), ”A New Dynasty - Created in China”(ARoS Aarhus Art Museum, Denmark), “Utopias/Heterotopia—Wuzhen International Contemporary Art Exhibition (Wuzhen, China) , “Xu Bing: Thought and Method”(UCCA, Beijing) and Now Is the Time: 2019 Wuzhen Contemporary Art Exhibition (Wuzhen, China).Feng Boyi is one of the most active independent curators and critics in China.

Markarov was trained as an artist in China, make his degree in traditional Chinese calligraphy and later in the field of contemporary art and textiles, researching in UK and Japan. As an artist he works in different fields of visual art as painting, printmaking, hand made paper, calligraphy, sculptures and installations in space. His works have been exhibited in 15th Lausanne Biennial for contemporary textile art in Switzerland, 7th International Cairo Biennial of Contemporary Art, 10th International Lodz Triennial of Tapestry in Poland, "Fascinatie Texstyle 2" in the Museum Van Bommel-van Dam, Venlo in Holland, Second Beijing Biennial for Contemporary Art, and other major group exhibitions in China and Bulgaria.
He curates the Bulgarian artists’ participation on Estampa 2000 and 2001 in Spain and in 2005 for the 2nd Beijing Biennial for Contemporary art in China. Co-curator of the 1st and 2nd edition of Hangzhou Triennial of Fiber Art in 2013 and 2016, China. In 2017 a chief curator of the “Silk and tradition”, a project in China National Silk Museum, and China Academy of Art an exhibition and symposium titled “Unrealized projects of Maryn Varbanov” related on the education of fiber art.

In recent years, she has turned her research focus from the art history of Ming and Qing Dynasties to the modern fibre art. She has published many academic theses and participated in many Chinese and foreign exhibitions as and artist: “The Fifth Dimension: Art of Fibre and Space”(2009), “Animamix Biennial”(2009) toured in Taipei, Shanghai, Beijing and Guangzhou, “The 7th International Ink Painting Biennial of Shenzhen – Comic media on Line”(2010), “Future Pass: La Biennale di Venezia”(2011), “The 8th China Contemporary Young Ceramic Artists’ Biennial Exhibition”(2012), “Fiber, Heart and Thought: Fibre & Space Art Exhibition from China Academy of Art”(2013), “Veni, Vidi, We young: Zhejiang International Youth Art Week”(2019). As a founder of “80 Commune”, she planned “Inheritance: Painting and Calligraphy Exhibition of 80 Commune”(2013,2014). Besides, she has published several academic articles: “The Operation Location of Wu Bin’s ‘Yan Dand Mountain ’”(2012), “A General Survery of Wu Bin’s ‘Looking for Friends in Lotus Society ’”(2012), “A Review of Kaunas – a report of The Biennial Fibre Art of Kaunas(”2012)“,T he dance of Cotton – The Exhibition of‘C otton: an International Thread’ in Whitworth Gallery, Manchester ”(2012), “Fiber, Visions – the Hangzhou Trinennial of Fibre Art in 2013 ”(2013), “The Restart of Perception: A series of material cultural thoughts elicited from ‘The Fall of Public Man ’”(2014), “Envisioning Fibre in the Cultural Heritage of Hangzhou, China ”(2016), “Weaving and Needle ”(2016), “Re-experiment, Fight for Architecture ”(2017). Her PhD dissertation Embroidered Painting – Research Into China’s Traditional Jiangnan Embroidery was published in (2018).

She has curated numerous exhibitions, both domestic and overseas, during her career, which includes “Spectrum” at Spiral, Tokyo, Japan, 2015, “KENPOKU ART 2016” at multiple places in Ibaraki prefecture, Japan, 2016, “Han Ishu: Drifting Thinker” at MoCA Pavilion, Shanghai, China, 2017, “Rafaël Rozendaal: GENEROSITY” at Towada Art Center, Aomori, Japan, 2018, “CHILDHOOD: Another banana day for the dream-fish” at Palais de Tokyo, Paris, France, 2018, “Yuko Mohri: Assume That There Is Friction and Resistance” at Towada Art Center , 2018 and “Stranger Than Fiction: Taking Creation Beyond Location” at Towada Art Center, 2019.