* soil  
* dust
* wind
* sand
* bio 
* 



  Photo by Julia C Liu, 2023


miranda.zyvb@gmail.com
@mirandazhenyao
b. Vancouver n. Hong Kong
l./w. Brooklyn


Miranda Zhen-Yao Van-Boswell is an artist of the Hong Kong diaspora working in photography, writing, and performance. Miranda came of age as an artist in the ancestral homelands of the Narragansett Nation (colonially known as Providence, Rhode Island). She graduated from Brown University in 2020 with a BA in Visual Arts before becoming the Work Exchange Artist in Residence at the Wedding Cake House (2021-23). Miranda now assists Ali Van in running a.f.t. Cooperative, a shelter for voices in the pursuit of living.

Miranda’s work engages the triangular affair of translation, rituals of domesticity, as well as the intersection of personal and collective histories. Her second homes are with Bread & Puppet Theatre, Reverend Billy & The Stop Shopping Choir, and No More Deaths/No Más Muertes.


𓆝 𓆟 𓆞𓆝 𓆟 𓆞𓆝 𓆟 𓆞𓆝 𓆟 𓆞𓆝 𓆟 𓆞𓆝 𓆟 𓆞


Thank you—

To my family: Thomas Boswell, Margaret May Fung Van, and Marco Zhen-Ji Van-Boswell. 飲水思源.

For their care and wise counsel: Ali Van, Pippi Zornosa, Xander Marro, and Diana Khoi Nguyen.

For their stabilizing presence: Nico Vela Page, Lina Berón Echavarria, Galadriel Brady, Keri Brooks, Noa Mori Machover, Paula Pacheco Soto, Julia Liu, Lake Amyel, Camila Arbalaez Sola, Josephine Devanbu and Hera Ford.



To the communities and projects of: Dirt Palace Public Projects, No More Deaths/No Más Muertes, Bread & Puppet Theatre, and Reverend Billy & The Stop Shopping Choir.

In recognition of writers and artists that have influenced me and what has been borrowed:

Tiffany Sia’s Too Salty Too Wet and in particular her line “Hong Kong will be the first postmodern city to die.”

“All Land Has a Perfect Memory” borrows its title from Toni Morisson’s line “all water has a perfect memory and is forever trying to get back to where it was” in her essay The Site of Memory.

On Kawara, Mierle Laderman Ukeles, Tiffany Sia, Patty Chang, Peter Schumann and Tehching Hsieh.



To those whose work I’ve drawn on unconsciously and am thus unable to honor here, thank you.