He is one of the pioneering artists of digital media and video installation in China.

His artistic creations are concerned with the alternation of old and new in time and space, history and memory, constantly presenting his views and questions.

He puts the viewer in an inexact time and space where images from personal memory are evoked to form individual texts.

Hu Jieming's video installations often include the re-creation of historical materials and everyday elements. The flashbacks and flash-forwards, the dialectical connection between memory and image, and the rich formal organization and the underlying ideology all explore the energy of individual emotions and memories in modern society amidst social changes and historical transitions.

Whether you like it or not, we are all, to varying degrees, addicted to information, and in the mythology of a particular era, we are confronted with an ever-increasing amount of data, symbols and codes, pictures, images, texts and data that usurp the right to speak on the spot, making the proportion of virtuality in information ever increasing. In a time and space where information is constantly quantified and organically recycled, television and the Internet are undoubtedly the protagonists of the myth. In such a space and time, it is doubtful whether our established judgment and ability to express can cope with the massive amount of information coming at us.

In absurd and humorous gamification, four people climb up the screen of a set of ten computers, and the different sounds of the audience will make "them" fall down by the sound vibration, just like Sisyphus in Greek mythology, over and over again. The interactive theatrical effect of the work shows the freedom of Hu Jieming to travel in a new context after stepping out of the pursuit of realism, highlighting a kind of infinite conflict of helplessness and inability to grasp reality, but always insisting on the social responsibility of a true artist.

Hu Jieming specializes in the use of numerous media, whether photography, video, or digital interactive technology. He views these new media arts as a demand of contemporary culture: the whole world is now entering a digital process where computers increasingly play a dominant role and are closely related to life. In such a premise and context, the style of artistic expression and aesthetic standards would inevitably change.

Artistic approaches also change over time. He has moved from painting and photography to installation and material, then to video, and now he is exploring new media and computers. However, for Hu, these are all mere vehicles: the artistic concept is the spirit.

The scene is an empty exhibition hall, with no concrete objects presented, and more than 800 images are presented outside the walls of the exhibition hall, passing through the cracks. The exhibition hall becomes a "space of light leakage", a disturbing scene. Events are about to begin, or have already begun, rather the events that have already occurred have not yet entered, we only feel their arrival. If history needs to be edited, who will edit this pile of material? The logical way might be the editing of this pile of material. The work should be mastered by each person who meets them, so that history will be transformed from material to new material, in a cycle of change from prologue to event to new prologue.

The heart rate and other cardiac indices of an adult in a state of arousal are measured with an electrocardiogram, and the music is composed on the basis of the waveforms of these indices and played on an automatic piano.

Hu Jieming was born in 1957 in Shanghai and graduated from the Department of Art and Design of Shanghai Light Industry Industrial College in 1984. He is currently a professor and head of the Digital Media Art Department at the School of Fine Arts, Shanghai Institute of Visual Arts. He is one of the pioneer artists of digital media and video installation in China today. Hu Jieming has a preference for other disciplines, often mingling those disparate fields. Hu's experiments come from an expression of concern for internal physiology, transforming physiological diagrams, gestures, architectural spaces, identities and pentagrams into a synthesis of visual experiences.

Hu's work has been widely exhibited. Exhibitions include: "City on the Edge", UCCA EDGE, Shanghai (2021); "The Things 2020", Magician Space, Beijing (2020); "14 Days", DRC No.12, Beijing (2020); "The Return of Guests: Selection of the PSA Collection", PSA, Shanghai (2019-2020); “Hu Jieming: Hypermage,” Poly Sunny Walk, Shanghai (2018); “Art in Motion. 100 Masterpieces with and through Media,” ZKM, Germany (2018); "Lights of Time – Solo Exhibition of Hu Jieming,” Aurora Museum, Shanghai (2016-2017); "Hybridizing Earth, Discussing Multitude,", Busan Biennale, KISWIRE FACTORY, Korea (2016);“Thingworld , International Triennial of New Media Art 2014,” National Art Museum of China, Beijing (2014); "Jeffrey Shaw and Hu Jieming Twofold Exhibition," Chronus Art Center, Shanghai (2014);“100 Years in 1 Minute,” Hu Jieming Solo Exhibition, ShanghART Main Space, Shanghai (2014); "Reactivation - The 9th Shanghai Biennale", PSA, Shanghai (2012); Art In Technological Times,” San Francisco Museum Of Modern Art, San Francisco (2001); “Live In Time,” Nationalglerie Im Hamburger Bahnhof Museum Fur Gegenwart, Berlin (2001); etc.