Even Zhang is a multidisciplinary artist working across moving image, installation, photography, text, and social practice.张怡雯是一位跨媒介艺术家，创作涵盖影像、装置、摄影、文本与社会实践。
Her practice explores relationships between bodies, non-human lives, ecological systems, and social structures, examining how modern systems shape, transform, and obscure forms of life. Working through research, situated observation, personal memory, and material experimentation, she attends to the points at which lived experience meets larger cultural and economic systems.她的实践探索身体、非人类生命、生态系统与社会结构之间的关系，考察现代系统如何塑造、转化并遮蔽生命形态。通过研究、在地观察、个人记忆与材料实验，她关注生活经验与更广泛的文化及经济系统相遇的时刻。
The body appears as an unstable archive: a site where family histories, gendered experience, habit, shame, and self-recognition are stored and repeatedly rewritten. Memory is treated not as evidence fixed in the past, but as a living structure shaped by embodiment and narration.身体在她的作品中作为一个不稳定的档案出现：家庭历史、性别经验、习惯、羞耻与自我认知在此被储存，又不断被改写。记忆并非固定于过去的证据，而是一种被身体经验与叙事持续塑造的活结构。
Across works concerning animals, food, agriculture, and habitat, Zhang questions the cultural systems that separate human life from other forms of life. She traces how belief, labour, industrial production, and consumption determine which bodies become visible, useful, edible, or absent. Place — from a Hubei mountain village to the contemporary city — becomes both an ecological field and a carrier of contested memory.在涉及动物、食物、农业与栖居地的创作中，张怡雯追问那些把人类生命与其他生命形态分离的文化系统。她追踪信仰、劳动、工业生产与消费如何决定哪些身体可见、可用、可食或被消隐。从湖北山村到当代城市，地方既是生态场域，也是充满争议的记忆载体。
Rather than resolving these tensions, her work constructs spaces for watching, retelling, and reflection. Moving image, installation, text, and participation operate as connected methods within a long-term research-based practice.她的作品并不试图解决这些张力，而是构建观看、复述与反思的空间。影像、装置、文本与参与，在一项长期研究型艺术实践中成为彼此连接的方法。
